Sunset Inspired Dreamy Landscapes: A 7 Day Gouache Challenge

1. Welcome Back & Class Overview: It's almost impossible to watch a sunset and not dream. Rightly said by Vaughan Williams. Why is it that when our eyes fixed onto the warm colors of the setting sun, we are transported to an enchanted world. Have you ever noticed that? We have that one thing that makes us feel warm inside for that moment, life is good. For me. That thing is the sunset. Sunset has always been there no matter what. It is, my peace and comfort. We all appreciate different things in life. But sunset makes you realize that there's always a hole for a new beginning? That's why I never miss an opportunity to enjoy the sunset. Take photographs no matter where I am and get inspired to paint this beautiful moments. I capturing them on my paper or on my canvas. Hello everyone. I am the limb Ryan, artist and an art educator based out of Bangalore, India. I go by the handle name and the red, Neil's artsy underscore Cove on Instagram, where you would discover my passion to paint nature. You could also find me on Pinterest, YouTube and Facebook. The link to virtues given on my Skillshare profile. I am someone who is absolutely obsessed with sunsets and is never tired painting them. This very obsession of mine led me to explore sunsets with a totally new and fun medium called gouache. And I was instantly in love with it. The rich, vivid colors and the opaque matte finish really caught my attention. So here I am with the seven day challenge, exploring the beauty of sunsets over the course of 14 days. This challenge will not only make you get into the habit of painting everyday, but also get rid of the overwhelming feeling when getting started with a new medium. This squash challenge is designed for all. You need not worry if you are in a mature, but the medium I am here to help you out. In this class, we will learn what is squash and why it is currently the most trending medium that artists community. I will take you through the supplies needed right from the paper, colors, brushes, and other accessories needed to get started with our main class. I will be discussing in great detail about the properties of bars that makes it such a versatile and forgiving medium. Give a detailed overview about some of the basic fundamental techniques such as gouache consistency, mixing, layering, and blending in the form of some practice exercises, which will help you to understand this medium much better. Using all of these techniques. We are then going to start our class projects which are going to be about 30 to 40 minutes long. To not make you feel overwhelmed during the class, I will be uploading each alternate day a new class project. This would allow you to relax and paint and catch up with me in case you were lagging behind. So if this is something that interests you and want to grow with me in your gouache journey, then join in this class right away. I'm thrilled to invite you all in the seven day challenge, hoping to see you in the class. 2. Choice of paper for gouache: For a big nerve, the very first question that pops out in their head is, what kind of paper should I start with for gouache? Do I need to go for expensive watercolor ones? Are done. Squash, have any other specific requirements? Well, in this section, I'm going to address all of your questions. Washes, also known as opaque watercolor rate. So by that sense, if you think all watercolor papers should work for gouache, but not only on those kind of watercolor papers, you could work with gouache on your toned papers or tinted papers such as yard this tone, gray papers, your craft papers, or even your black sheets. The only thing that you should keep in mind is that the thickness of the paper. That is what matters a lot. So you are this craft paper or your tinted sheets will be somewhat similar to that of hot pressed papers. That meaning it has this smooth finish to your surface. But nowadays there are a lot of variations available in the market. There are some now a little textured black sheets also available in the market when you paint with gouache on this kind of black or craft or any toned paper for that matter of fact, the opacity of the gouache is enhanced more beautifully and it gives a beautiful finished to your painting. For gouache, you need not worry about splurging into very artists grade a 100% cotton papers with practice. And when you get a grasp of what kind of consistency of gouache you like to work best with. Your paper choices can also vary accordingly. For example, the blending is much more easier on, you know, a 100% cotton hot press paper. Now this hot press paper that you see out here is from Lana. And as you can see, the paper will be very smooth like here. Can you see there is absolutely no texture on the surface and hence, gouache will lie beautifully as soft and smooth like butter on this kind of hot press surface or paper. Now, when it is made up of 100% cotton, the paper will try to absorb more of that paint and the pigment for you. Okay, So that's the only difference. Now see here this paper, the sketchbook that I'm showing you are curious, made up from 100% cotton paper, 300 GSM, but it's cold pressed, but it has a matte finish. That sketch book paper is very similar to that of this honeymoon phase. Cold Press matte finished paper. Here, take a look at the paper surface. Can you see it has little texture to it, but it is not so prominent. Now when you compare these two papers side-by-side, you would see here for example, this Arches paper is cold press paper, right? Wearables. This honeymoon phase paper, as you have seen, is not so textured. It has a very subtle at extra to the surface and that's why I have been loving to use this paper for my gouache paintings. Now that is totally my personal preference. There is no restriction as two, you cannot no use. Rough are very coarse. Textured paper for gouache you can use, but you have to play around with the consistency of gouache that you are using while painting. Now, here in this kind of paper, you cannot be varying thicker consistency of gouache because those will get trapped into those grooves. Hence, you have to walk around with the consistency of gouache, which we will be discussing later in the lessons. Okay? So as a beginner, I would recommend you start with cold press surface. You can use your cellulose papers also, which has little texture to it. Or rather start with paper which is absolutely plain or smooth, such as your hot press paper or something like this. Okay. So you're also, you would be getting similar matte opaque finish to your painting. Just that, remember to use a paper which at least is 200 GSM or of-of. Preferably, I would recommend you to always use to 70 GSM or evolved people, even for gouache. Best results, I have found that you use a 100% cotton paper, which is of at least 300 GSM, but it is absolutely not necessary too. Always go for a 100% cotton paper. It is just about experimenting, getting to know the medium, and working with some different consistencies, of course, that you would find your way. For example, in this Canvas kind of paper, you would notice that you would need more of the wash paints to really cover those pores, open pores of this paper so that you get results like this. So here you will be consuming a lot of your gouache paints and the consistency has to be perfect. It should not be to take or it should not be too thin. It should just be perfect so that the pores are blocked and you'll get this opaque, beautiful matte finish. And because it is so textured, the effect and the detailing that you would get on this paper will just blow your mind. So I have been experimenting quite a lot in this paper and so far, I'm really loving the results that I have been getting. But if you're an absolute beginner, I would not recommend you to absolutely start with this paper because it, it has to do with lot of understanding about the correct consistency of gloss that you would need in to work on this kind of paper. So basic things, getting it right is as a big nerves you should either or for this cellulose paper which has little texture to it, so that it's easier for you to bring out the details onto your paintings. Or you use a normal hot press paper which is very smooth surface. It need not be a 100% cotton. You can go for even the cellulose ones. 3. Gouache Overview: What is squash? Squash is a water-based medium and is made up of natural pigment, water or binding agent, which is generally gum arabic, our deck stream, and some propylene glycol to keep the paint moist and not written. When dry. Gouache is similar to watercolor, it can be activated using water. Rv wetted just like watercolors, but when dry, it gives a mad, beautiful finish. It also allows you to paint with an opaque painting style and can form superficial layer by using the Spain, just like how you would do it with acrylics or oil paints. This is the example where you can see the layering technique being used with gouache and the effects are so beautiful. This is one of the major reason why cautious, known as the left child, between acrylics and watercolor because it exhibits properties from both the mediums. Because making it such a versatile medium to work with this very nature of gouache was loved by illustrators and hence they were widely used in comic books, posters, or any design-related work because they're way easier to print. Washes very similar to watercolors, but it is modified to make it look opaque by the addition of a white fill up like substance such as jock or body, which turns the gouache heavier and does not allow light to pass through. Hence the name opaque watercolors. I like watercolors. The particles and gouache are typically larger. The ratio of pigment to binder is much higher. And filler, which is added, gives the matte finish to the gouache and renders it opaque. Since the pigments used in gouache are much larger or coarser, it typically sits on the surface of your paper rather than being absorbed into the paper. Just like how watercolors would do. When you dilute the watercolors with water, it would give you the transparency rate. But with gouache, you won't be able to attain that transparency even though you turn it down with water, they would still be some amount of paint redeemed. So when it comes to painting with gouache, we always use our white gouache to tone down or lighten, are colored and get a lighter version or shade instead of adding water, which we do for watercolors. This technique is also very similar with acrylics rate. Even in acrylics, we use white to lighten our colors. Once done, you let the layer dry and you see that it dries into a very matte finish, unlike acrylics, which gives us shine or sheen to it. And the resultant outcome is water resistant, unlike gouache, which can be easily reactivated. Now let's take a look at the different forms, of course, that are nowadays marketed. These are available in tubes, this little jars and the famous jelly cups from me or hear me. Now there is another type, of course that is available in the market, which is known as acrylic wash, which is very much like gouache, but when it dries, it dries to be water resistant, just like how acrylics are. All of these are going to give the same result. That is the matte finished look to your painting. But you may want to watch out the vibrancy of the paints for some brands. That is sometimes the inexpensive ones where more of the chalk filler is added and less of the pigment, you would get some dull colors which will not be so vibrant after finishing. This can be understood by when your brush rinsing water turns to muddy too soon. This means that your gouache is loaded with pigment to binder ratio, as it should be. One important thing that you must keep in mind is that always use freshly squeezed squash to give you that perfect velvety finish that you are aiming for. Or if your gouache is most enough to get reactivated using little water, you may do so, but remember to add a dollop of freshly squeezed squash so that there is no difference in the vibrancy or the gouache is not too diluted when you are reactivating with water. In this way, your vibrancy will be intact. Now that you have a brief understanding about the nature of gouache and it's versatile properties. Let's get to know a little bit more in the next section where I will be showing and discussing with you some basic foundational techniques of gouache, which we will be putting to practice in our class projects. So get your supplies ready and join me in the next section to begin our practice sessions. 4. Gouache Consistency: In this section, we will be talking about and discussing the most frequently asked question, what should be our gouache consistency be like consistency of hogwash when it comes out of tubes will depend on number of factors like the pigment, the brand, the age of the wash. But ultimately whichever gouache you may have, the end result will have to be a creamy velvety makes dropping from your brush. If you have the paint sticking to the tip of the brush, it means that the consistency of the gouache is to take. This thick gouache is generally used to apply finishing touches or highlights at the end of your painting. For example, maybe to add certain drops off flowers to create some petals or to create some strokes are dry brush patterns for mountains. When you squeeze squash fresh out of the tube, you get the highest capacity possible with it. However, this may be difficult to spread it when used on a textured paper. Hens. Consistency not only depends on the amount of water that you add to your gouache, but also the type of paper that you would be using to paint on. Let's take a look at the example here. I am freshly squeezing out the gouache from my tube and with my damp brush, I'm just going to pick some of that paint and we'll start spreading across the papers. Since my brush is damp. Initially for this smaller area, I will be able to spread the paint nice and thoroughly. But in case of larger surface area, I will be getting some dry brush patterns and my brush will not be able to move along. Now, let's move to the next case where I rinse my brush thoroughly with water and then dab it dam on a tissue paper or tissue Darwin. Now I will be squeezing some of that fresh squash all over again on my palette. And I'll be loading my brush with this thick paint and start to glided on the paper surface. Let's see how it works. So here I'm facing difficulty to lead this paint on my paper nice and evenly. And as a result of which, I'm getting dry brush marks. This will be even more difficult when you go and start layering it on a very textured surface like that of a rough grain paper. Now let's add some water to it. Actually, lots of water to it and make the consistency almost similar to that of watercolors. See how thin the paint is, right? You can clearly see the palette visible underneath that paint mix, right? So this is the thin consistency of gouache layer. So when you start layering on the paper, it would lead very smoothly on the paper. But you can see that you are able to see the underneath of the paper, write the paper white is getting exposed and so are your brushstrokes, right? So here it is. This kind of thin consistency of gouache is mostly used as a base coat for your underpainting. So you would have this question, what would be the perfect consistency then? Here is it cure the gouache right now is to take, I'll be adding some little water with the help of my brush and I'll try to mix it into a creamy, velvety makes. Can you see I have mixed it to be creamy and it is nice and buttery consistency. And I cannot see the underneath of my palette. Now applying the paint on paper. And you can see right, it is not too thick, not too thin, but just the right consistency. And it is opaque. My paper white is not visible. Now let's see a couple of scenarios where I'll be adding water to my gouache mix and turning them into thin. This is for your visualization purpose so that in case you have something like this, you would know that you are prepared. Consistency of gouache is too thin. I will keep on adding water to this existing wash mix that I have on my brush and reach to the stage where it will be the most thinnest. Okay, just like how it would be for watercolors. I would try to reach that stage. This is just for your visualization purpose because when you see it and do it, you can get the feel of it and hence, understand which is the right consistency for you that works best on your paper. So now you're, it is the first one that you see. The first layering is the perfect consistency. The second one, it's too thick and you get those dry brush marks. The third one, I have directly squeezed out. Wash and started applying with my damp brush. And hence you can see those brushstrokes underneath, right? So that is not a proper application or that is not how your gouache consistency should be. Now let's check the fourth one. So when right, can you see the patch that is seen underneath the paper? My paper white is visible showing there as a patch. So here is the other applications. When I've added, again water to that consistency, my gouache has ten down considerably. Now let's take another scenario where you want to reactivate your old gouache that is left on your palate. So the trick is here, add some freshly squeezed squash to your existing old wash on your palette. But make sure that if your gouache is cracked or has dried out completely, then it is better to discard then to try to reactivate it. But if it is still not cracked, you can easily reactivated, just like how I have reactivated using little bit of water and my freshly squeezed squash, it has come back to its original form and vibrancy. So again, here, this trick will depend on the brand, of course, that you are using. Most of the inexpensive brands always add more of the binding elements or the filler elements in it so that your gouache will have the chances of drying out too soon. So in that case, when you try to reactivate them with water, it so happens that the gouache becomes already diluted and its original vibrancy is lost. Not only vibrancy, but also your opacity will be lost. And in that case, you may want to add little bit of your white gouache to it to give it that extra body. But in that way, you will again allow your gouache. Never try to reactivate your craft. Gouache, which is already dried out completely. This is because in that way you will have certain impurities are particles and head to the tip of your brush and on layering it on paper, there might be some uneven strokes or application, so you need to avoid those kind of reactivation. Now reactivation of gouache might be a little tricky, especially the brand that you are using. I am here using Shanahan Art designer gouache. Now this squash is very creamy, soft and super-rich and pigments. But if you are using some other variants of gouache where it is more of the chalk fillers and it tends to dry out too soon, then the reactivation process might be getting hampered. So in that case, I would always suggest you to go for freshly squeezed squash. Squash, which is brittle and dry. Doubt produces powdery substance which might interfere with your lettering or blending process. So it is not recommended to use those kind of dried out gouache. I hope this section is cleared and I have addressed to your question, what should be the right consistency of gouache did not already, in the following few lessons, we will be going ahead and creating some mixing exercises, which will give you a better understanding of having wash at the correct consistency. 5. Gouache Technique 1: Mixing Part I: Let's get familiarized with the very first technique, which is the mixing technique here I have created this grid. And now with the help of my permanent black marker, I'm going to place a dot or a so-called right at the center of the paper. The purpose of this black dot will allow us to notice how opaque paint is even after addition of water. The main objective of this exercise is to get yourself familiarized with how little water gouache needs and how by increasing the amount of water it affects the medium. To fill in the color in the grid. I'm going to squeeze out some fresh gouache. Make sure that you are squeezing out quite a good amount. Because in that way, you will be able to note how much water you are really adding into your pool of paint. Let's get started First, I will be just dipping my brush in this water, making it damp and wet. Now, I will soak up all that extra water with the help of my tissue paper or tissue tau1, load my brush tip with this paint mix and start letting the paint mix on my paper. You can see right? When the brushes getting dried, my brush was creating some dry brush marks. Make sure to add no water in this first grade because with this grid you will be comparing the rest of the others how opaque your paint is by addition of water. The people that I'm using here is not fully very grooved or too cold press paper but of mode of matte finish. But if you are using something like this rough green paper, which is a 100% cotton, you would get those kind of dry brush marks for your first grid and that's fine. Try to lead the gouache as much as possible. Now, I'm just going to dip the tip of my brush into water and get that thick paint loaded. Once again on my brush, I will start layering this paint on the paper just next to that grid. Now you can see here, you would automatically feel that the application of the paint is little smoother as compared to the earlier one where we had directly use the moist paint straight out of the tube and started lettering on the paper with that **** dry brush tool. We are doing the same, but here we have added a little bit more of water from our brush into the paint. And as a result of which, it is still opaque, but the application is still smooth on the surface of the paper. Okay, So this is how it would look. Again, I will clean the brush in water and with the damp paper, I will load the color one more time on this paper. Now as a result of which you can see that this time the color is a little lighter as compared to the before one's, right. And you can see in somewhere doze, brush marks coming up on the paper and the paper weight getting exposed rate. This is because we have added a little bit more of water into our existing paint mix as a result of which the concentration of the paint is getting diluted. For the fourth-grade do repeating the same step by adding just with the tip of my brush that water onto the existing paint mix and smearing it down on the paper. Now, able to gauge what this exercise is all about. Just by increasing the amount of water into your existing gouache paint mix. What you are trying to observe and see is how opaque the gouache was when you started using it and how it is losing its opacity once you start adding more and more water. So this last grid is the perfect example for that because now your gouache is to tend to watery and hence the black dot R-squared that we had placed at the center of the paper is just so vivid. Rate it is clearly seen. It has become transparent, almost like transparent variables. The first two where still opaque. You can see it's hidden behind some what also when you add too much of water into your gouache paint mix, it will obviously take longer time to dry, but when you see the first two application, it has dried out instantly because this had we're sitting on the surface, there was less amount of water added into the paint mix and hence it dried faster as compared to the others. Now from this exercise, the inference drawn is that grid 23 are the gouache consistency that you should aim for depending on the type of painting that you are aiming for or the soda inference drawn is that for the perfect gouache consistency grid 23 is your perfect fit. Another way to practice this exercise is to add white, which not only increases the opacity of your paint, but will also affect the color itself. The more white you add, the more paler the color would turn into. Okay, So this is what we're going to do in the next exercise. 6. Gouache Technique 1-Mixing Part II: Let's continue with our mixing exercise. So similarly, I'll be squeezing out some fresh squash out of my tube. I'll squeeze good amount out on my palette. Now, the trick is to add white, instead of adding what? I chose to do this exercise on white paper, thinking that many of you may not have black or tinted or toned paper. But if you have a black or toned paper, you might carry out this exercise on that, you would have a better clarity on how opaque your gouache becomes on adding incremental values of white into your paint. First, starting with my guar straight out of the tube here. I have not added anything is just the guar that I'm going and starting to smear on my paper surface using my damp brush. Since the squash is straight out of the tube. So it is the most purist and the thickest form of gouache hints. Layering might be a little tricky on paper. If you have chosen a very textured paper, you might have some difficulty and letting your gouache on the paper do not try to add water in this because this will be your reference to the last grid that we obtain, like how the gouache is opaque when it is straight out of the tube, when it is not diluted with water. Versus when you mix your incremental values of white into the same paint mix, what is the opacity obtained? Okay, so we are going to do this exercise. You'll find that you have to do this exercise to get a feel of the medium rate. Just by merely seeing this on the screen, like I'm showing you out here, will not help you until and unless you really get the feel of the medium and get the feel of what I am trying to relate to you out here. In the next grid, what I have done is I have added just a little tiny amount using the tip of my brush and mixed it with the existing paint mix yard, you will not be able to see much of the difference out here. But in this paint mix, as we gradually start increasing the amount of white into the paint mix, you will see that the vibrancy of the original orange, the pure pigment orange, will start reducing and it will start turning into more of that lighter tone, you know, the pistol kind of shade. Okay. So this is how light the color will turn once you start adding increasing quantities of white into your existing paint mix. I'm just going to repeat the same exercise and fill the entire cell or the grid using this mix of my gouache with white, makes sure that you are not adding any water. Use just the damp brush and your white gouache as well as your mixed orange gouache with white and just keep layering it on the paper. The main objective is to see the opacity, the increase in the Opacity as you keep adding white to it. Now, every time that you completely fill the grid, always make sure to rinse the brush with water and the extra water on your tissue paper. Grab some of that white adding, again, bite into the existing paint mix and keep on letting this paint mix until you reach the last grid. The more gradually progresses, the more better you will understand how much water in your paint mix and your white in the paint really affects the opacity of the course. And as you can see, as I'm adding more and more white into the paint mix, the black squares that I had created, it's almost hidden behind right? So this is the main objective that I was trying to demonstrate that by adding white, you can turn your gouache paints opaque, but too much white will reduce the intensity of the PR, pigment that you have. So let's hear out the final inference. In the first mixing exercise, we started with the gouache straight out of tube, and then started adding incremental values of water until we reach the most diluted form of gouache consistency, okay, where the people white is clearly visible. Grid 23 is the example of the perfect consistency by adding water, we start the second exercise by going with guar straight down through the tube and add little by little white into the existing paint mix. Increasing the value of white into the paint mix results into the most opaque form of gouache. But you can see the vibrancy is lost. The vibrancy of the pure pigment is lost. Dog washes now toned down to a very pistol form as compared to what we had initially started with. Hence, I would suggest you to really practice this mixing exercises and the next coming exercises because that will help you to understand gouache in a better way. 7. Gouache Technique 2: Layering: Starting with our next technique, which is the layering. Layering is one of the most trickiest techniques when it comes to gouache. Gouache reactivates quite easily. That means you may ruin your piece by just overworking, creating a muddy mix. Washes, not infinitely variable, just like how you would do with acrylics. So there comes a point when adding layer after layer makes it worse. So you need to know where to stop and not overwork trying to fix it. Hence, understanding layering and getting a feel of gosh is very, very important. Now in this piece, I have overworked it by going with multiple larynx. And now it is at a point where it is beyond any fixing. Now, let's try to understand this process of layering with the help of few scenarios. First, I'm starting out with wash the most tickets form of bar straight out of the tube. Now, I'm going to let it with a complementary colors. Here. The color is too dark as you can see, but it has formed already, or shade of purple as it reactivated the base code, I will show you the same exercise with this light blue color and you see that the color, the base code has been reactivated with that of the blue. This is because the more take your base coat is more of the paint pigment sits on the surface of the paper, hence more easily the paint will be keen to reactivate since that's the nature of quash. But now when you do the same with more diluted version as the first coat of your gouache on your paper. You will see that the paint is enmeshed into the paper and as a result, it will reactivate very less with that of the subsequent learning. I think the difference is very much evident rate when v Hughes take coat, the layering process, reactivated the base code versus when we use this thin diluted code, the layering process did not reactivate the base code. Now let's try out our second scenario. Now let's start smearing my perfectly thin wash consistency as the very first code. And I have lead and other same one, but the later one is still fresh. It has not yet dried. Now, what I'll do is using my damp brush. I'm just going to start the learning process on the one which is not yet right, that is the second one. And as I keep doing that, you can see that it instantly form that purple make sense. The base coat was not dry enough. Now, when I go and do the same thing with my lighter shade of color, you would be able to get a better understanding here. I'll be letting my lighter shade of blue over this rose pink color. And you can see right, the bottom layer is not getting reactivated since the layer has already dried nice and smoothly on the paper. Now in this scenario, I go and create this first, initial layer using my perfect consistency of gouache, let it dry completely. Now with the help of this brush, which is loaded with water, I'm going to pick up some of that paint from my palette and start the layering process. The more water is there in your paint brush, the more likely it is that your bottom layer will be reactivated. So have a control on the amount of water you have on your brush and painting when layering. Now, let's take a look at the fourth and the last scenario. In the fourth scenario, I'm applying a fresh coat of paint as the first initial base coat. Now let it dry. And on top of that, I'm going and creating too much of to and fro brush movement and putting too much pressure on my brush and look at the result here. The more you brush your new layer into your old layer with more pressure, the more likely you are to reactivate your old layer. And sometimes in that process, you might also ruin some parts of the paper. So try applying quick and decisive strokes without brushing too much into your old layer. And you would see that your results are much better when you give some space and time for the first initial layer to dry before you go ahead and start it with a second layer. So just keep following in this example here, I will be going with multiple larynx, but I will be spacing them and letting them dry so that I can go ahead and do the same layering process one more time. So I have started with a light pink shade over that blue and giving some gentle strokes with the brush, not going to and fro. I'll let this layer dry up using a hot air gun or your hairdryer. And then again, I will start layering with some white gouache. And as you can see, I am not exerting too much pressure on the brush, but going slow and gentle. So in that way, I'm not reactivating any of that base layer. So make sure that you get a feel of this layering technique practices with your gouache straight to see with different consistencies and different times what really happens when you let your lead dry up, use your take thin consistency of paint because this exact layering process is what I have included in some of the class projects, which we will see in the course of 14 days. So do not skip this lesson. This will come and really very handy in understanding the applications of these techniques when we kick-start our projects. I will see you soon again in the next lesson where we will be looking at the very most important technique of quash, which is the blending exercise. 8. Gouache Technique 3: Blending: In this exercise, we are going to see the very most important technique which is blending. And here I'll be showing you blending with a simple gradient wash and a variegated wash blending. So I have squeezed out the colors from my tube and I have chosen to complementary colors that is blue and rose pink. So feel free to choose any of the two complimentary colors that you would want. I am here now starting with my first grid, where I am just going and smearing the paint with the help of my damp brush. The paint that I'm smearing is the freshly squeezed out gouache from the gouache tubes. Okay. Here, I have not diluted it with water. It's just a damp brush and the pig wars that I'm spreading along. Okay, so keep following the process. Now. I have cleaned the brush, rinse it with water, and similarly with just the tip of my brush, I Lord it back again with the pigment and start to let it. Here you can see the layering of the bottom part is lighter. This is because we are going to go and apply a thick white gouache on top of this bottom layer and start to blend it into the darker shades of blue. Okay, just like this, using to and fro motion of the brush at this point, because we are going with the application, you might feel some resistance while moving the brush because there is too much of paint pigment on, sitting on the surface of the paper. Rinse your brush in water, start back from the top using your dark shade of Prussian blue and blended into the whites that we have just lead. This will give you the transition of the dark to lighter blues. Here. He would observe that as you keep on layering your thick gouache on the paper, there comes a point when it becomes difficult for your brush to smoothly move along the surface of the paper. This is because there is too much of paint sitting on the surface of the paper, and hence, it makes it difficult. Now I have started mixing little water just with the tip of my brush. I added little water to the existing paint mix. And now you can see my paint has turned into very smooth, creamy consistency and it is easier for me to spread the paint on the paper. The consistency of this paint is just perfect for me to go and do this blending process. Here, my paint is neither too thick, it is needed to thin, it is still opaque and hence you would get very good results when using this perfect consistency of gouache. But bear in mind that this course will only be effective when you do not want to go for multiple larynx starting from the bottom with the similar white gouache consistency, I start blending the colors back and form a smooth transition of dark to light the colors. You would observe that your brushes able to glide along the paper much more freely. This is because there is not to take paint pigments sitting on the surface of the paper. And hence you are able to glide smoothly with your just damp brush. Whenever you are transitioning from one color to the other color, always remember to rinse your brush in water, dab it clean on a tissue, paper, tissue towel, and then go back blending it again, something similar, which we do in watercolors. Always remember to go with soft, gentle strokes when blending, such as this to and fro motion, do not go to vigorously with your brush in that way you will spoil or ruin the paper. Now starting with our blend three, which is by adding a little bit more water to it, precisely to say just one drop using this tip of my brush. And in the same existing paint mix, I have added the water and blending the colors together. So this is the resulting consistency. This tort blend that you see with this ten gouache consistency is generally my most preferred way of blending the gouache. The reason being it has just the perfect amount of paint pigments sitting on the paper. And as a result of which, I can go with multiple larynx if need be. For example, in this background, if I want to go and paint clouds after it has dried. I can do so very easily without reactivating my base layer. Now for this last exercise, I will be showing you how it is if the gouache consistency is too thin. So I have added too much of water such that it almost is seeming like watercolors, right? So it is so transparent that the paper white is exposed. Now similarly, with the same kind of consistency of my white gouache, I'll try to create this smooth blend, but you can see my brushstrokes are clearly visible on the paper right? Now let's start with our variegated blend, meaning using two or more colors to create a transition of background washes. I'll be first starting with the Prussian blue, starting from the top end of the paper. Okay, I'm here working with the thickest gouache consistency that you get when it is freshly squeezed out from the 2s. Can you see how opaque the layer is because we are using the ticket squash consistency that it can have. As soon as I reach the center of the paper, I stopped with that and I start with the thicker gouache of my, another color, which I'm using as the rose pink color. Here too. I will go and stop somewhere right beneath that blue leaving that the space of band of white there, I will start layering with my white quash. Observe this tape out here, how I'm going ahead and creating the blend. The moment I go and touch the pink, I do not go up. I'm just trying to get the transition of that light pink than white, then light blue to darker blue. Okay, so keep observing my brush movements and the process that I'm going ahead and doing. The main disadvantage of using two takeoff gouache consistency is that there is too much of pain sitting on the surface of paper, which eventually will make the people polled saturated. Once that happens, your brush will no longer be able to freely move around the paper because there is too much of saturation of paint on the surface of the paper. At some point, you will be starting to lifting of the paint rather than letting the paint next starting with a grid to, with the perfect gouache consistency like we had done earlier for that single gradient background. I have just used a little diluted gouache, but it was not too diluted. It was just perfectly opaque for my paintbrush to start layering it smoothly. You can see the paper, why it is not visible underneath that layering of color. Okay, So this is another technique of blending. Now they're at the intersection between the blue and the pink. I'm going to lead with the gentle stroke width, my white quash like that. Now using just the tip of my brush, scrub off the, any other color that is there. I will start blending the pink and then I will move towards the blue, come back again and blend the pink. So this is how I'm going to blend it to keep your transitions clean. Always rinse your brush and then dab it on or tissue paper to shoot our will and start from the solid colors. Like you're, I have started with my Prussian blue from the top, blended down into the transitioning colors of the lighter blue, white, and then the pinks, right? So similarly, I will repeat the same step with the pink to starting from the bottom, blended all the way up into the intersection areas. Observe you're at the bottom section because I was going with too many times with this gouache consistency, I started to lift off so thin areas around that section, the bottom section where the pink is transitioning into violet. Around that section, I started to lift off the colors, so I let the color of that area dry out completely and start the blending process all over again. But makes sure that you are not going to rough with your paper or your brushstrokes try to go with small gentle strokes, but makes sure that your initial layering has dried completely. Starting with our next blend with our tin gouache consistency, it should be ten to spread onto your paper surface very smooth and evenly. Look how beautifully my brushes able to glide on the paper. Yet my colors are still kind of opaque as compared to the ones which is too diluted where my people white will be extremely visible. This layering is actually the perfect way to blend the colors, since there is not too much of paint settled on the surface of the paper, you can easily achieve, though, blends much more beautifully and give the transitions are beautiful look. This blending exercise is for you to practice. Only with practice you can get the feel of the gouache consistency, the resistance that I'm talking about that your brush faces when you led to take off gouache paint. Or if your paper is too textured. So if you don't practice it on yourself, you will not be able to understand all these important things, and hence will not be able to workout or understand gouache as a medium. Now starting with the last grid by going ahead with the thinnest consistency. That is, the gouache is too thin, too diluted with water, and it's looking like watercolors, right? So this is how it will appear to be on your paper and there will be inconsistent layering. You can see your brushstrokes are clearly visible through the layering. And also the paper white is visible even after layering with white with generally makes the layering opaque. It is still inconsistent and your brush marks are still very clearly visible. And I have forgotten to mention here another thing, never in-between, go with water loaded brush, in-between blending and start blending the lead. Whenever you are blending, always have at least the tip of your brush loaded with some amount of paint pigment. Unless your paper is already too thickly coated with gouache paint. In that case, only just the slide dam tip of your brush would able to reactivate the base layer and allow you to, again, blend through the areas that you need to retouch. I hope you practice these exercises because only with practice will you get a feel of all these consistency of the guards, the blending and layering techniques. 9. Supplies You'll Need: Before we begin with our projects, let me walk you through with the list of materials that we will be needing for creating a class projects. First will be our paper. So the paper that we are going to use for our projects is going to be this honeymoon paper, which is a 100% cotton. And 300 GSM is the thickness of the paper. Now here I have cut my paper into this A5 sheets so that I'm prepared for all the seven days that we are going to paint together. So this paper is, you can see, of A5 size and it has this matte finish. I'll show you an example. So here is the sketchbook which has this kind of texture. And I really loved using this paper for my daily gouache practices. So this is the paper and you can see how very similar these two papers. So this is cold press, but matte finished paper, gouache, it is not necessary that you need to use a 100% cotton paper if you are fine and if you know to handle the medium when you could go ahead and use any paper of your liking. But makes sure that it should be at least 300 GSM and thickness for seven days challenge, you could use either this kind of cut out pieces of paper or you could go ahead and use sketchbook. If you are using this cutout pieces, you would need board to fix your paper firmly onto the surface so that you can paint using your masking tape. You need to fix your paper onto your board or if you want to have those crisp edges, always remember that whenever you are selecting your masking tape, select your masking tapes based on the type of paper that you're using. In case if we're using handmade paper, then I would always recommend you to go with low tack masking tapes, which has lesser adhesive to it. The next supply is obviously going to be our paint. The paint that I'm going to use here is the medium gouache. You're using branch in Han Arts Designer wash. So this is the gouache that I'm going to use. This is from Shanahan professionals designer gouache, but there are various other alternatives which are available in the market. It is not necessary that you need to use the same words that I'm using here. But TR designer gouache is a professional gouache. And when you use them, you know the difference and the outcome that they produce. One of the most popular and trending words that I have seen and used is he may wash its budget friendly so you could go ahead and give a try to them. Now, here are the colors that I'm going to use. These will be the basic primaries, mostly that I'll be using for the projects. But as in when we progress with our projects, I will be separately listing down all the colors that I'm going to use for the respective projects. So you can have this primaries handy with you. So the first is the blue and then you can have this yellows with you. Now here you could use warm yellow and a cooler shade of yellow. For blues, it is not necessary to have your warm blue are cool blue, just big Kiara, bright blue color. That would do. And then here is this orange. Here. You can always make orange when mixing your scarlet red with your yellows. Okay, So if you have a read that should give you the alternative to orange when mixed with yellow right? Next you could have some rows, or purple or violet handy with you. Here, I will be using this bright pink color, which is known by the name of Para. Not many brands have this color. But if you can go ahead and use your roles as the alternative, next would be your olive green. This is almost like Sap green. Now instead of this, you could also go ahead and try like grass green, which is there in hemi guage or permanent green. The names vary from brand to brand, right? So pick a green which is closer to sap green, or this brighter shades of green. Now we will go to some earth pigments, which is your browns and some black. Okay, so these will be really handy. These are the darker colors that we will be using. Last but not the least, we will be using this white quash. Now, I have this bigger tube from rostral. But shouldn't happen. Also has this white, which is titanium white or your it is permanent white, which is almost closer to that of titanium white. Always try to go ahead and use your titanium white because that's brighter white that you have. Now that we have discussed about the colors. So next what we are mixing palette rate, you would need a pallet to mix your gouache paints. So here I'm going to use a ceramic palette. Go ahead and use bigger ceramic palettes that would give you larger surface area to mix your colors. I am here using ceramic palettes because they do not leave stains. But if you do not have them, you can go ahead and use your plastic pallets or any lids are containers that you have God, you could use them also to squeeze out your colors and mix them. Now let's take a look at next important supply, which is a brushes. For brushes when you are using with gouache, always remember that they should be of synthetic fiber. They should not be hog hair brushes are natural hair brushes because natural hair brushes hold more water and also when you are selecting the size of your brushes, make sure that you are choosing the size of the brush in respect to the size of your paper. For example, this three by four inch brush will cover larger surface area, so it is better suited when you are going with larger paintings. But for our projects, we are going to use these smallest size brushes because our pupil size is smaller, which is a five. So I'm going to use this filbert brush, which is of size eight from Mia hemi. If you do not have filbert brush, you could go ahead and use this half an inch flat brush. Now, this one is from Princeton velvet touch series that red handled brush. Okay, Then other brush that I love using the most is my angle shader brush. It has a beautiful angular shape to the tip. So I love them using for my clouds are covering areas where I need to draw some specific shapes or lines. If you do not have angle shader brushes, you're not ready, you're filled with brushes or your flat brushes will do the job of blending the colors and creating the cloud. The next would be R, round brushes. Here I have got this size and before long round brush, same from Princeton velvet touch series. It has a very long and pointed tip. I generally use it to paint little fluffy clouds or use them to paint grass blades. And here is another brush. This is a little short round brush from Mia hemi size and before the others, round brushes are size number two from silver black velvet and liner brush, which is size number two from Princeton. And here is another liner detailing brush, which is from a local brand stationary that is of size number 0. These are the brushes that I'm going to use mostly to create all of our class projects. To rinse your brushes, you would need a jar of water. I would recommend you to keep two jars of water, especially if you're one jar has gotten dirty or muddy by continuous rinsing, I would recommend you to have another clean jar of water handy or instead of that, use your spray bottle. Keep them handy so that you can just pray Whenever you feel that your colors are drying out and you need little bit moisture needed to be added into your pain. So either use a spray bottle, use this fresh clean water with the help of your brush and reactivate your gouache into a creamy lather, a mixture. Have your other stationary such as ruler, a pencil and an eraser handy by your side to go and sketch out some basic details or to get the outline done. So that's all about it. And do not forget about your tissue paper to soak up the extra water from your brushes, you would need a couple of tissue papers or tissue travel also would do. And that's all I think I have covered pretty much everything that we need to get started with our project. 11. Day 1: Soothing Sunset Part 1: Hello, welcome to day one. Today we are going to paint a very beautiful sunset with some very primary basic colors. So before we begin, let's tape down on paper with the help of our masking tape, washi tape. I have here a piece of paper to swatch out our colors. Now in case if you are using a cutout paper like I'm using, you could use this method of swatching out your colors. I'll be taping it down just above that paper. Okay. So you're always watching out the colors. You could do the same in your sketch book as well. Use the reverse side of the sketchbook and swatch out your colors in that page where the other page will be painting. So it will be easy for you to refer to the colors that you are using. I have already squeezed out the colors from the tubes onto the ceramic palettes. Now with the help of my spray bottle, I'm just going to spray it wise to make these colors reactivated with water so that when I start mixing them, I get a beautiful creamy mix. Now I'll be just sketching out the horizon line. So around three fourths of the paper will be a sky. So I'm creating a horizon line out here. And just above this horizon line, I'm going to go and create this rough shapes where there will be those midground shrubs or the background shrubs, okay? And there will be the reflection of the same which is getting reflected in the lake. You could start sketching out once you have watched the entire video. That will be easier for you to know what exactly I'm doing here. That's all I'm done with the sketch. Now it's time to start mixing your colors. So UIUC, I have this **** dry brush. I have soaked up all the excess water in this tissue paper or tissue towel. Now, I'm going to mix my aqua blue, which is my light blue with the blue that I have God, and turn them into a creamy buttery mix. This is very essential. So you're trying to observe and also, I had already shown you guys, right, what should be your gouache consistency as for the people that you have chosen. So depending on that, go for the gouache consistency that you would prefer, it should flow out from the brush onto your paper very smoothly and not have any dry brush strokes in-between. Okay, So this is the perfect consistency that I would like for this paper. And you can see it is blending beautifully and not leaving dry brush marks. The moment dry brush marks start appearing, that means the brush tip is exhausted of all the pain that we had. So it's time to scoop out some of the mixed paint again and start layering and to and fro motion for guage. Whenever there is this, this kind of blending involved, it is always preferable that you choose flat brushes are your filbert brush or your angle shader brushes because this gives really good blending. Also, you could go ahead and use chisel blender brushes. Makes sure that you have the brush tip loaded with the paint mix. Every time that you load the brush tip with your paint mix, the paint mix should be creamy enough for you to go smoothly onto your paper without creating too much of friction. It should not be too watery as well because the paper white will be exposed. So that way you would understand that your wash is your observed my brush movements, gliding the brush very smoothly and gently, not applying too much of pressure on the brush. Now, I'll be going on and creating this gradient until I have reached almost half here. I'll be stopping here. Now. I have washed my brush, I'll be washing it off in water. Makes sure that you clean your rinse your brush thoroughly and water there should not be any blue remnant in your brush because we are going to start layering with white now. Okay. So post you have cleaned your brush, use a damp towel to take off all the extra water and residues of the color. Now start with the gouache, like this white gouache. I have started right around one centimeter below that blue line, and I'm going in and blending though. Last blue line where we had the dry brush marks, right. So with the help of the tip of my brush, which is loaded with white gouache, I have gone ahead and created a beautiful blend. I have loaded my brush once again with the white and I'm slowly gliding it over the areas where I had already led the blue. So this will give us the transition between the dark to light blue. I will have to go over the top one more time with the civilian blue one more time and bring it down to the bottom where I need the blue to be transitioned from dark to light. Now this is how exactly you need to have this smooth transition of colors. And this is what is the perfect blending. I'm really happy how my blue is transitioning to lighter blue and then to white. Then we will be starting from the horizon line where we're going to paint with yellows. Two, I'm going to mix my little bit of cool yellow with my warm yellow. I have yellow orange and my permanent yellow light. I will make a little bit of orange and white to tone down the colors are lighten the color. So here we go. I start layering just above the horizon line with the tip of the brush and start layering. It makes sure that you go with straight streaks to and fro because you need the horizon line to be straight, right? So that's how you need to do. If you feel that this is too bright, you can always go ahead and tone it down with white, but I'll be adding yours some of that orange just above the horizon line because the sun is setting down so that area of horizon line is generally the warmer. So I'll go and create some orange-ish hue and there, just with the help of few long horizontal streaks over there, just like that, to give a little bit more of drama and vibrancy to us and said, I have added in a little bit of opera pink into my yellow. If you want, you could add in a little bit of your quinacridone, crimson, rose red into yard yellows and create the same color. Okay, and I'll be just going ahead and using some of that warm yellow, that is a yellow orange and mix it into that overlapping. It creates a beautiful, lovely coral, orangeish pink color, which I love to use for my sunset skies. I'll be toning it down a bit, bit because I feel the vibrancy is too bright. So I'll just use some of that white quash to go over those areas. Light gentle strokes and try to blend in where we will be creating the transition of that yellows to the blues. Now I led that transitioning area to get dried a bit. In the meantime, I'll be swatching out the colors, whatever we have used so far. So here goes my yellow orange. Now, yellow orange mixed with a little bit of white to get that lighter shade of that yellow that we have used near to the horizon line. And in the transitioning colors, a bit of orange over there, okay? So we have mixed yellow and orange to create a brighter orange. There goes my opaque era. You can see right, how opaque the colors are, right? So this is why you use gouache and acrylic techniques because you work with a medium which is opaque, not like watercolors, which is transparent or semi-transparent. Nature. Year the blending is done just like how you do it in acrylics. At this point, it is looking that I have two distinct bands of colors, right? So I'm trying to blend in those colors, that streak of coral, pink, orange, along with the yellow. So I'm loading my brush with some white as well as with some yellow going over those areas One more time with the same horizontal brush movements to blend them together. Using some of that white quash and little bit of yellow that I have mixed over here. I'll be going ahead with the same horizontal strokes just to create that proper smooth blend and the transition. Now I'll be dipping the tip of my brush and loading it with little bit of white gouache. So this here will be a thinner white chords that I'm going to create the transition all over again, going up the blue here you see, I'm not going up to the deeper end of the blue, right? I'm just leaving it up there. Now. I have washed my brush and I have gone ahead, loaded it up with that lighter blue and going up, I'm blending it. Now it's time to take some of that darker blue and start blending it again. Going right up to the top and from top to bottom again, I'll be blending it back. So this is how you can create this beautiful transition of colors which will look very beautifully blended if you follow the steps exactly like how I'm doing. Now, over to that center area, I will be going ahead with little bit of opera pink, blending it into the white, but that band is still looking so prominently standing out, right? So I'll have to go ahead and use a little bit of thinner consistency of white gouache and blend it out uniformly just like that seeing here now, it has toned down and it's not looking so evident that there was that huge streak of pink, right? We have blended it well together. So I'll be just blending the colors back. Now between each blending, I'm leaving some time and you're just very light handedly with the tip of my brush, I'll just go and read, blend those areas and that's all. Rinse your brush thoroughly clean water. I'm going to meet you at the next part where we are going to start with the reflection. 12. Day 1: Soothing Sunset Part 2: Time to start with our leg. So for the water, I'm going to use the same colors that we have used for this guy, the same blue mix that we have created for this guy here. I have mixed my light blue with that of civilian blue to obtain the shade of lighter blue. And you can see, I have gone ahead with little thinner consistency of gouache over here. This is because if you use too thick paint while covering this area, later on, you might be having some difficulty and your brush might be facing some resistant while blending with whites. That's why I'm going ahead with little thin consistency of guar so that later on I can come and blend out the areas again using my white or using little bit more of my blue pigment so that the layering process is done right just below the horizon line. I'm going to go ahead with the same mixture of my yellow, orange mixed with a little bit of opera pink to go ahead and create the same reflection in the water. You're, I'm feeling that this paint mix will not be sufficient. So I'll grab my spray bottle, spray some of that water. And I will be going ahead and creating this mix one more time with those three colors, or para orange and my yellow orange. Okay, So now we're good to go. My paint is creamy and smooth. I'll just go underneath that horizon line and start layering the color like that. And straight horizontal smooth lines. I have gone here with a thinner consistency because we will be starting with layering of yellow. Yellow is a very opaque color, especially this permanent yellow light. So once we start layering and going over that orange areas, it will automatically be opaque and the consistency will show right, just like how it is looking. And I'm going to blend the color to tone it down a bit with the help of white, using to and fro motion of the brush. I'm going to go and cover the areas right there and leave those grassland areas that we had already marked. Because there we are going to go ahead with a base coat of black. So if you already have a base coat of yellow, when you start going with black, it might reactivate the yellow and turn it into a very muddy mix over there, which you do not want to leave those areas to be white as such. Now, in-between though transition of yellow and blue start with DR. white blend together so that there is a uniform transition of yellow to blue. Just like how we did it for this guy. Now, in-between those white patches that we had left surrounding the blue, I'm going and filling with this very light shade of yellow in there. Now the edges, I'm going to start blending them with pure white. Just like that, to give that streaky look of that clouds in the sky. Main emphasis of this D1 project is to show you the right way of blending the colors. So if you get this right automatically, the journey with gouache is going to be really very easy for you. And this technique is going to be the basic foundation for all the other upcoming projects in the coming days. So if you'll get this right, the journey with me in this seven days will be much, much easier. So keep following along Me and keep observing my brush strokes. Now it's time to get started with our grasslands. So for the grassland, I'll be using my black mixed with little bit of my burnt umber. Okay, so here is the swatch off my Black Sea here it is the most opaque color that you have gotten gouache. I'm swatching out the colors first and then comes here my burnt umber. Okay, so I'll be also using this sap green or olive green over here. So this is how the consistency of your guage for the base code should look like. Now, I'm going to mix in a little bit of green into my black and brown mix to turn them into this very dark brownish color. And I'll just let the horizon line over there with the straight line. So I have used my angle shader brush and with just one stroke, I have created that. So if you're using a round brush, you need to be little careful. Your hand should be steady and go ahead and create a straight line. Now with just the tip of my size number four round brush. I'm going ahead and creating this foliage like shrubby patterns above the horizon line. Now, with just the tip of my brush, I'm going to go ahead and create this horizontal line above the horizon one more time. And I'm feeling that over there the color is lightening, so I'll just go ahead and use dabbing motion of my brush to fill in the black over there. You need to be careful out here because we have underneath yellow in here. So if you use too much of watery paint mix, the underneath the yellow will be getting reactivated and it will look very shabby and weird. So be a little careful. Use optimum amount of water in your gouache mix and try to go with a thicker consistency of gouache. Now, with the help of my angle shader brush, I'm going to go ahead and create these small strokes of horizontal straight lines to indicate the reflection of this foliage into the water. Okay, Now with some law vertical strokes, I'm going to drag them down to indicate the shrubby growth getting reflected in the water. So this is how you can go ahead and paint your reflection. I have switched to my round brush size number four once again, and I'm going to start with my grassland area over this art. So just with my dark black and with little thicker black, I'm going ahead and creating the same foliage like patterns that we have done for the midground. We will paint the reflection of this part later. We will go ahead and start with the bigger chunk of the grassland over here. Same process. I'm going to repeat the same steps all over again. I'm going ahead with some long vertical strokes. As you can see here, I'm not going with horizontal strokes if you would have noticed this is because I want the grass leg structures to be out there and to give the illusion of it once we start creating different layers with different colors of greens. Okay? So this is why I'm going with long vertical strokes. To create the reflection of this grassland in water. I have switched to my angle shader brush and look how I'm creating the reflection. First, I'm going and you're fixing the areas by creating some taller grasses in there. Now, mimicking the same, I'm going to pull down some long vertical strokes. Dab your brush on tissue paper or tissue towel if you feel that your brush is loaded with too much of paint. And just like that, with some dry brush strokes, you'll go and create those blades of grass in the reflection. Now, one thing you must always remember by creating reflection. This reflections are always larger than the object, right? So go ahead and create the illusion of that by painting some taller grasses for the reflection part. Now I'm going to go with some horizontal straight lines to create the reflection of the earlier grassland, something like this. So go ahead with the little dry brush technique over there and create some longer and shorter lines in between. And that's all. It's time to add some depth into our grasslands so far that I've switched to my liner brush and I'm mixing my green with a little bit of brown in there. Okay, So it will be like greenish brown. So I'm going to go and create some tall grass like shapes over here. So these are like wild plants that are growing over this water. Okay, so use the tip of your brush. If you do not have a liner brush, go ahead and use your fine detailing brush which has a sharp pointy tip, or use your round brush size number 01 or two, anything that you are comfortable with. And create this long grass like wild grass shapes over here. Going ahead and replicating the same thing for the reflection as well. We'll be adding in a few more cleaner blades of grass in there, just like this. Okay, so use your pointy end of the brush and create this long blades of grass. Time to do the same here too and this reflection part. So I'm first going and creating the reflection of this glass-like shapes. Now around this right side, it's looking empty. So I have decided to go ahead and pin this grass like plant over here to paint one or two of it. Do not overcrowd this area. It will look very clustered. Time to get back to our grassland onto our left. Now it's time to replicate the same glass-like shapes that we have for our reflection. So I'm just going to go over and create this taller grass shapes with the same color mix of green mixed with a little bit of brown. So it would be like very similar to that of almost black. Now to create some highlights in between those darker shades, I'll be mixing my green with a little bit of my white and create some strokes like this, vertical strokes, just like how we have painted the grasses, something like that. Repeating the same for the reflection as well. So just the little offered do not overdo this area. If you want, you can go ahead and create a lighter brown mix by mixing your brown, that is your CNR. I'm bored with white and go ahead and create the same. So that is all. 13. Day 1: Soothing Sunset Part 3: Once you are satisfied with the highlights in your grassland, we can move on to the next step, which is to paint our setting sun right at the center of the people. So we're going to paint the sun where it is the most warm and yellow. So here I'm going with my size four round brush and creating this circular shape of the sun using my white gouache. Now around that white Guangxi area, I'm going to go ahead and create a ring or a hallow of the warmer yellow also to give that glowing effect of the sun, just like that. So I here, I'm using some streaks as one long horizontal streaks around the sun to create that shape or effect. Going with the hallow with the mixture of my yellow, permanent yellow mixed with white. And here we have, if you feel that the color of the sun has dulled out, you can go ahead and drop in some of that white gouache again in the center of that sun to give that more glowing effect. But I like it this way. G2 and the water, I'm going to go and create the same kind of effect. I'm not going to paint the full sun, but just a little ripples would seem of light cream mix that I have got using white and yellow. And that is all we are done creating this simple and beautiful sunset by the lake. And gouache dries very quickly, so it's time to peel off our masking tape from all the four sides. And here you see how beautiful it is already looking, especially the blends in the sky, right? So this is how you can create astonishing sunsets or any landscapes with gouache. If you get the techniques right, Do practice this project and upload in the project section, I would love to see them. That's all for day one. I'll meet you tomorrow with day two. 14. Day 2 Color Palette: For the two color palette, these are the colors that we would be using. 15. Day 2 Scenic Sunset View From Road Part 1: Hello guys, welcome back to the two. Like always, I will be first steeping down my paper on all four sides using masking tape and get started with a basic pencil sketching. Before I get started with the basic pencil sketching, I will first quiz out all my colors in this palette. So the colors that I'm using here I have already described in the separate section, which is the color palette for our project. I hope you guys have followed through and gotten your colors ready. If not, you can squeeze the colors along with me. I have squeezed out my upper blue, followed by turquoise blue. Now, I'll be squeezing out some of my yellow. The yellow that I'm using here is permanent. Yellow, orange, deep from Shanahan Art. So the colors are the gouache that I'm using is from the branching and a heart, but you do not have to worry if you do not have the same brand, you could use any brand of gouache that is available with you. Next, I squeezed out some of that cadmium yellow deep now, followed by this rose pink color. This is one of my very favorite pinks from this brand. And I will also squeeze out some of that Oprah pink that I have. This oprah pink is a bright and beautiful pink which blends really well together with yellow. So I use it mostly to transition my colors of yellows and pinks and make it into a coral peach pink shade. Now, next, last but not the least, is our white quash. Okay, so once you have this basic colors ready, we will now moisture in it using our spray bottle. This is because I do not want to add too much of unnecessary water. Spray full of just two ounces is more than enough to re-wet your paints time to get our basic pencil sketching done. So using my ruler and a pencil, I'm creating a horizon line. The three fourths of the paper will be a sky followed by a road. Okay, So here we're painting a scenic road view and the horizon line. I'm going in marketing the center point. So that is going to be our point of perspective. And from there, we're going to create this two slanted lines to create the road. Once done with the road now just above the horizon line, I'm going to go and create some midground mountains. I would recommend you to first watch the entire sketching process and then pause the screen out here. When I'm done with the sketch, then you could go and create your own pencil sketch. I'm done with my pencil sketch. Now let's grab our brush so the brush out here is damp. I'll just watch it one more time. Dab it on my tissue paper towel to soak up all the excess water that might be present. Now with the help of this damp brush, I'm going to mix my colors so that my colors are already reactivated with water. Remember, I had sprayed or moist indeed using my spray bottle and I'm mixing my turquoise blue with my aqua blue in case if you do not have aqua blue, do not worry. Just go ahead and use your white into your turquoise blue or any bright blue shade and tone it down to a lighter blue. Now observe the consistency that I'm creating. The pigment should not stick to your brush. It should be very smooth and soft and buttery. I'm going with the third category of consistency of gouache that we have seen in the blending technique. Remember, look as I'm smearing the paint on my paper, it is flowing so smooth and softly. The moment I am running the tip of my brush, exhausted, that's the time when I'm grabbing some more of that paint and I'm smearing it along, spreading it across the paper as smooth as butter. So this should be the consistency of your gouache and you can see the underneath of the paper is not visible. That means my gouache is just about the right consistency that I need. I'm smearing the paint using to and fro motion of my brush here I would always suggest you whenever you are creating such kind of gradient blends for gouache, it is always recommended that you use a flat brush because it has more surface area and it will help you to cover larger surface area more easily, meaning it has more coverage than that you would get using a round brush. Okay, so I will leave that blue layer just still there. Okay, now I'll rinse my brush nice and thoroughly in water, dab it on my tissue, paper tissue. Now, I'll grab the all white gouache and I will. Get it back to the same consistency that I had applied. The blue. I'll get it towards that perfect consistency of gouache. It should be smooth and buttery and around here, I'll start spreading it and then move across with the same to and fro motion into the blue part. So I'll be doing that step very soon. So keep observing, but I'm feeling that the white gouache consistency was not correct as I was not able to smoothly lay down my paint over there, so I just moistened it using some spray bottle. Now the consistency feels perfect. Yes. Now my brushes able to flow much more freely on my paper. Now, I'll be very soon blending it into my blue part. Can you see how I'm blending? So as soon as you touch the blue, now you have to just work it upwards and slowly bring it down into the whiter areas. Okay. Here you have now two separate bands right? Now, I will blend it smoothly by using my turquoise blue mixed with the same aqua blue. What we have started painting the sky layer it one more time, used to and fro motion of the brush from top, I will be blending it into that wide band that you are seeing over here. Okay, so as I touch down that white part, I'm starting to blend and I'm transitioning the colors. At this point, my brush tip is drying out. So what I'll do is I'll just do a little bit in water, dab it on my tissue paper towel and then yes, Now see how beautifully it spreading it is because there is already a layer of gouache on my paper. It's not too thin guage. It was the perfect consistency. So using just the dam tip of the brush, you can easily try to blend the colors smoothly if the layer of your gouache is too thin, when you try to do this step, you will observe that you will be thinning out your gouache even more. So be watchful about this step. Your gouache consistency should be absolutely perfect and opaque. So that this **** technique of brush works. The **** technique will work only because your brush tip has dried out because you were using more of the paint and less of water. That is the reason I will not try to work on the upper layers anymore. It's time to mix our yellows. Before you mix your yellows always makes sure that you have rinse your brush thoroughly. There should not be any blue residues left on your brush, or else you will turn your yellows into greenish hue. So always be mindful of this. I will start with the same consistency of gouache like we had applied for the blue. And I'm starting from the bottom. Keep observing the steps, how I'm going to blend. So till here I'll be loading the paper with this PR concentration or pigment value of yellow. And I'm mixing a little bit of my opera pink into my yellow mix and mix some white as well, turn it into a very beautiful coral pink shade. See I'm here using some freshwater and turning the mix into soft and creamy. So that's when my brush was easily able to spread the color on the paper. So I'll wash the brush now, take some of that white and start blending it. Can you see how beautifully the lighter shades of yellows are created because it is mixing with that previously existing white layer. And hence that lighter transition of colors is coming to effect right now with washed brush and some more clean white gouache, I have started blending it back to blue. Okay, and now I'm just using to and fro motion of my brush tip and blending it again bottom. Now using my clean brush and I'll be loading some of that white gouache and paint over those areas where we had sketched out the mountain. Now, here it is a totally optional case. I want you to show the process of layering how you can layer your paint without activating the base colors. That is what I want to show you when I will be painting the misty mountains. But if you feel that it might be little difficult for you. So what I would suggest you do is first watch the process and then decide if you want to go ahead and paint this area or just leave that area out where your mountains as sketched. Okay. So just let your yellows of-of the areas of the mountain and you would have the cleaner areas for going ahead and doing the misty mountains more easily. I'm pretty satisfied how my blend is looking right now. Okay. I will not overwork this area because we will be painting some clouds over it. So I'll let this area dry. 16. Day 2: Scenic Road View Part 2: So I'll be starting out with the pavement parts where there is lush greenery along the sides of the road. So for that, I am going and reactivating my sap green. So this sap green, I have used a separate palette, but if you have separate mixing wells are mixing palette and your palette is quite big enough, you can create this mixes out there. Since my palette is very small, that's why I have to use several smaller palettes to mix the colors. Now I'm turning my green into a darker shade of green by mixing it with black. So this is the shade I have got. Now using my angle shader brush, I'm filling it along the direction that we had painted those lines. Okay. And you can see I'm going and creating this vertical strokes. And as I'm approaching the point of perspective, my strokes are getting smaller. So this is the point of perspective effect that when it is towards you, the objects seem bigger. When it is farther away from you, the objects become smaller. So that's the entire thing of pointer perspective. I'm going to repeat the same process for the right side as well. Here. I'm just going and giving it some kind of strokes out here. You can see half seeds out here, right? So this would give that illusion of depth into the lush greenery that I want to paint along the sides. Okay. So observed my brush movement out here. I'm just trying to flick my brush strokes from the base to the top and creating those glass-like blades already, right. So do not worry, we'll have to go with consecutive or subsequent layering with different tonal values of greens to create that effect of depth and sense of realism into this large greenery fields that we want to paint by the sides of the road. To the most farthest part of our left where we have left those empty spaces. Now I'm trying to mix my green with some of my burnt sienna, just a little bit of burnt sienna and turn it into a very greenish or green color, like little bit of muddy green color. And just around there, I'll just layer it with some yellows as well to turn it lighter. So along the sides I have used the browns and then blended it in into lighter color with the yellow. Okay, So this is something which I'll do for the right side as well. So it's basic, simple. Whatever you repeat on your left the same, you'll be repeating on your right as well. Now, I'll squeeze out some of my Prussian blue for going and creating the misty mountains because I'm giving some time for the greener layers to dry out. And then we will be starting out with detailing of the grasses. So this is why in-between your lettering, it is important that you give time for your first base layer to dry out so that you can start working with your second layer. For the misty mountain mix. You can see I have gone ahead and use a little bit of thick consistency of gouache to outline the mountain. Okay. Now, using just a little bit water, that is F dip the tip of my brush in water and I'm layering this blue out here. And you can see the more I brush my brush against that yellow base code, it is getting reactivated. So I let that area dry out. In the meantime using my round size them before I'm going ahead and with consigns definite strokes with the same color. I'm just going and layering the color on the mountain over here. I will not do too much of brush movement over there. Now, I'll be mixing some of my PR, white quash into that lighter blue gouache mix that we had and create this transition of this misty mountains. That is, there will be kind of misty light colors right at the base of the mountains, right? And I'll try to blend it with the mountains using my size four brush. I'm just going to drag the colors a little down into the white course so that the blending looks uniform out there. Now it's time to come back to our sidewalk ways. So I'm letting it with black to give it a distinct sharp outline over there. The same. I'm going to go ahead and do near to the sideways of the road as well. Observed the strokes that I'm creating out here. It is kind of slanted. So keep observing this the same I'm going to repeat on the right side of the pathway. Also. Your strokes will become narrower and thinner as you reach to the point of intersection. The same will follow for the right side as well. So keep following me. Okay. Now let's do the other part of the roads, the exact sideways next to the roads. Okay. So for that, I'm using my black mixed with a little bit of my burnt sienna over there. And just with this landed strokes of the brush, I'm just going and filling the areas roughly. Now I do not have to lead to a thick paint over here. Just go with some little light pin consistency of gouache like this and follow the strokes like I am creating our tier. Now, we will lead this area's get dried out. Our sky has completely dried out, so we will start painting our Cloud. So for clouds, I'm mixing my opera pink With little bit of white into that yellow mix that we had got. Remember here my brushes, absolutely damp and dry. You can see right with the strokes that I'm getting. So I'll just need to spray water over there into that mix and using just the tip of my brush and grab some more of that, right? I will go and create this fluffy client or shapes of the Cloud. I'm here using slanted motion of the brush. And because my brushes angle, That's why I have an advantage over it. The same. You can do it with the help of a flat brush. Just use the tip of your brush to create the same exact steps. Now always remember that during this layering process, do not be too vigorous with your brush on the paper in if you are to vigorous, then you will be reactivating the base underlying layer. So we do not want that. So go with very soft, gentle strokes with your brush. The paint mix should not be too thick because if you use too thick paint mix, you will have more resistance from the paper and your brush. So try to go in-between with that perfect consistency of gouache yard. Brush tip should be damp enough for you to create this stroke smoothly on the paper without having to reactivate the base code. Here for the clouds, I have chose to be stuck with blues and pinks and some violet. But if you have any other color combinations in mind or do you have any references where you would like to try out some different color combinations. Feel free to go ahead. This color combination is one of my most favorite. That's why I love using this yellows, blues and pinks and corals in my sky. During this process of layering your clouds, if you feel that your brush tip is loaded with too much of water, you can always dab it on tissue paper like I had done and give you a brush that dryness that you want to have by creating this dry, light and smooth dry strokes like this, I have mixed my aqua blue, which is the light blue with some of that rose pink to create this color where I'm going and creating these clouds near to the mountains. We're done with the sky in the meantime, are these fields have also dried. So I'll just go and use my sharp pointy tip of my brush size number four, and create this long, thin strokes indicating the grass blades. Here the stroke should be thinner and the color that I'm using here is sap green. I'll just go and use small dabbing motion of my brush to create smaller grasp patterns there behind that. Now, can you see that black marks? So I will hide it out using the damp tip of my brush loaded with this green. Now with the same brush, I will just elongate the grass blades strokes so that that area gets covered up. So give some time in-between this layering process, okay, your layer should be first dried in order for you to start with the second layering. Now here with just a little thin consistency of gouache. I'm going and creating this lighter grass blades using the tip of my brush. This would give the depth that I want in this feed. This lighter mix I have created by mixing more of lemon yellow into my sap green. So the more yellow you add into your sap green, it will turn into more towards the lemony yellow side and the color will be much lighter. Now with just the pointed tip of my brush, I'm just going to go and create some shorter dabbing strokes to create some grass textures on the idea behind this front area of the field as well. Quite happy and satisfied with the way this is looking right now. So I'll let it dry off. In the meantime, I will start with the side of the road yard. I'm using my sap green. I have not used too much of water just with a damp brush. I have just created this strokes, the long slanted strokes, using the tip of my brush, the same I'm going to do for my right side as well. While doing this portion to not cover up the entire black parts. Keep some of that Blackboard visible underneath that green. Because that would really help us to create the smaller green grass textures that we would be adding later on. Now I have started creating the background foliage just at the base of the misty mountains. So for this I am using my black and just with the dabbing motion of my brush tip, I'm going and creating the foliage patterns. Please do not go here with two watery paint mix to go with perfect gouache mix or the perfect consistency of the gouache. It should be just take so that you can smoothly led this dabbing motion of the brush and create this foliage patterns instead of the shrubby, bushy patterns. You can also add in some pine canopy also, that's totally up to you. Whatever you decide to go and fill your midground near to the base of this misty mountain. Feel free to do so, but makes sure that you are not covering the misty areas of the mountain because that is very essential to retain the beauty of this piece. Now, I'll be going and adding in some taller trees in-between those foliage. Now the placement of these trees are totally random. And now as I'm done with the, making thinner lines for the branches, I'm going with the dabbing motion from my tip of my brush and creating this foliage of the tree. And that's all for this part. I'll meet you again with the next part. 17. Day 2: Final Details Part 3: Continuing with the same upward strokes for the grasses as well. Once you are done and happy about it, we will move on to the next step. Now it's time to create this small dress like structures with just dabbing tip of my brush. Makes sure that your brush is dry in order to get this smaller dabbing strokes from your brush. So this is how we are going to create this sidewalk of the pavement. While doing this step, make sure that you do not fill it out completely. Keeps some of those darker areas too. I'm going to repeat the exact same process at this right side of the road as well. Once you are done filling in this dabbing motion with the brush and it looks quite completely textured. It's time now to create some smaller grasses just around the sides of the road. Make sure that you are using thin brush, most probably your size number one or number two brush to create this thinner lines of grass. So let me show you this is the brush that I'm using. It has a very nice sharp pointy tip. And for the grass, I'm using this color combination of lemon yellow, this is leaf green, but you could mix the same color by using your sap green and lemon yellow in the ratio of two is to one. Make sure that the color combination that you are using for this graph should stand out from the background. That is why this process is known as Letting. We are going with multiple layers to denote the depth in the grasses. I'm going to continue this grassland structures until the end of that point where it meets the road. Okay. Make sure that your strokes go shorter and shorter as you go towards the intersection of that road right towards you, the grasses are going to be much longer and sharper. Look here, I'm filling it up with some lighter colors now because the background color when it dried, it was almost similar to that of the background color, right. So that's why I went for some more lighter tone. I'm going to repeat the exact same process towards the right as well to denote that sense of realism in the grass. So keep observing the brushstrokes that I'm going and doing a head for the grass when I'm going and creating the upper grasses, I'm using this long curved strokes for the grasses. And then at the bottom, I'm just dragging it out, something like that. So this is how I'm going to complete this entire stretch, just like how we had done for our left side, once done with this part. Now we are going to start our roads. So for the road, I'm going to create a mixed off my black, blue, and white, creating a gray mix. Mixing all these three colors. I'm going to take a fresh palette and mix all these three colors to make my shade. I'm going to make the shade once and for all so that there is no difference in the shade later on. Here is the process of how I'm creating my grade. Keep observing once you have reached the final concentration and you are happy with the gray mix before applying it on your paper, swatch it out on a separate piece of paper. As I have already said, I forgot to include a swatch sheet for this particular project, but do not worry. You can also go ahead and repeat the same kind of swatch sheet that I have done in first project, or use the side, the other side of your sketchbook to swatch out your colors. Okay, so this is the final gray mix that I'm going to use. So you can swatch it on a separate piece of paper and see if you have got the same mix. And then if you have, start out by painting the road in this long slanted motion, just like how I'm doing here. I'm using my angle shader brush, but you do not have to use the very same brush. You could use your chisel blender or your flat brush as well to do this step, observe the mix that I have created. My gray mix is not too watery, neither it is to take, right? It's just that perfect consistency of gouache that I'm using are tier. And remember here, I'm going to let just once for the road there will not be any multiple larynx. So you can hear work with this unit, perfect gouache consistency, which would be little thick so that you get. Better coverage area. Quite nicely. The road has come up, right? Nice, beautiful, smooth, dark road rate the perfect roads that you always crave for. Such long drapes right here. Anyways, keeping the jokes apart. Once you are happy and satisfied with your road, It's time now to create this grasses one more time because the bottom grasses remember that we had painted earlier would have got covered when we were painting the road. So I'm just going ahead and creating the bottom strokes of the grasses One more time. And we are done. I will add little more highlights with my lighter mix. So I have mixed little bit of white into my existing leaf, green, that is my lemon yellow hopeless sap green mix. I have mixed little white to create that highlight in the grass. Now the grass looks so beautiful, right? It's highlighted very prominently and it's standing out against the dark background. So now using my white Jelly Roll pen, I'm going to create the markings of the highway. So you could use your Jelly Roll pen, audio Posca marker, or you can use your white gouache and your liner brush. You feel confident to have that perfect stroke. You can always go ahead and do that. But just if you are a beginner. So here it's an easy way of doing it. Use your Jelly Roll pen or your Posca marker and create this two lines running along the direction of the road. And out there, if you feel it has crossed the boundary of the road, use just the tip of your brush and blend it out. Will rub my ruler on this tissue towels so that I get off all those stains from the ruler. And we'll repeat the exact same step that I did for the left side out here too. Now once you have created those white markings, you could now use your liner brush, audio round brush, size number 12, and fill out these gaps that you see in between these lines. So you need to have really steady hands. You do not want to ruin it by wavy lines. That would look really weird. So go get a grip, put your little finger on the paper as a support and keep the hand steady and fill this lines. Or you could use Posca marker also to fill out these gaps. Once done with the sidelines. Now I'm going to repeat the same drill for creating this center mark things as well. Here, you can either go for this continuous line marking that I'll be doing or you can use the shorter broken markings on my right eye was not very happy with that line that I had drawn, so I decided to go and lead my gray mix all over again. I will wait for this layer to dry and then we will come back and create the white lines. Again. That area has dried completely. You can now let's do this. I'll just create the line marking out here. Once done. Now I'm going to use my cadmium yellow instead of cadmium yellow. If you have lemon yellow, you could also go ahead and use your lemon yellow to fill out the lines in-between, okay? But make sure you do not go and create some wavy lines out here. It needs to be straight or the realism from the road will be taken away. So here, just be patient, take your time and try creating this in smaller sections. We will be following the principle here, divide and rule so that it's easier for us to create this beautiful straight line. Okay? So that's the trick. We'll do the same at the other end or the right side also. It's the same thing, but I'm going with just one stroke. I am pretty much confident with this one stroke because I have been doing so with practice. But if you are not sure, just like a hallway I had shown, break it up into smaller sections and continue doing that. Okay. Now here I'm creating this smaller, thinner lines in-between the road to create the impression that the paint is peeling off or wearing out and to create some dirt on the road here, I'm using absolutely dry brush technique, using my dry brush and just letting my white gouache in some random areas just like that. And here we have our final painting. It has already dried completely and now let's peel off our tapes from all the foresight. If you would have taken my other classes, you would know that I always emphasize on peeling the tapes out with, with patients because if you are too fast and you are not really careful, you might rip off the entire painted part as well with your tape. So be gentle and patient. And I totally love how are these beautiful scenic view of the road is. I will see you again on Sunday with this beautiful pink and purple sense it for D3. 18. Day 3: Color Palette: You're on screen, you can see the colors that are listed. We will be using the very same for creating our class project. 19. Day 3: Magical Pink Sunset Part 1: Welcome to day three. We will quickly begin first by taping down your paper on all four sides using our masking tape. Now with the help of my pencil and ruler, about two-thirds of the paper, I'm going to demarcate the area where we will be creating a sky. Below that demarcation, I'll be creating our horizon line. That demarcation is nothing but where I'll be going ahead and creating small hillock or mountains in the distance midground. Before you begin with your sketching process, I would recommend you first go through the entire video and then come back and pause the screen out your create your own pencil outline or sketch. I will be also going anti marketing or outlining our smaller grassland areas here at the foreground. So that is easier for us to get the proportion rate of how much we want the sky and the water reflection with the help of my spray bottle, I'm now going to moisten my paints. These are freshly squeezed paints straight out of the tubes. Okay. That's why I have used the spray bottle to moisture in them so that I have water control. Make sure you just go ahead and spray one or two sprays. Not more than that because more than that, you will make the paint's too watery. Before I load my brush with fresh paints, I'm ensuring that there is no previous residue of pains stuck in the bristles of my brush. That's why I have rob did thoroughly on my tissue paper. Right now, I'm loading the brush with fresh paints. I have started with my cadmium yellow orange. If you do not have this cadmium yellow orange, you can go ahead and use your yellow, mix it with little bit tinge of your scarlet red. And you can create this yellowish orange shade, mix it with little bit of white to give you the opacity. If you feel that your colors are too right here, try to observe the consistency of gouache along with my brush movements. I'm going ahead and using not to very thick wash out your neither the perfect gouache consistency here I have gone with a little thinner gouache consistency, but it should not be that thin that your paper white is visible. The opacity should still be there in case if you are not understanding what I'm referring to as ten gouache consistency. I will suggest you to go check back to the sections where I have explained it all regarding wash consistency. By now, if you wouldn't have noticed the sky that I'm painting here, I'm going with a different approach. I'm not letting the colors like a straight flat to and fro motion. I am going ahead with slanted strokes and also making sure that I leave certain white gaps in between where I'm filling in this lighter shade of white mixed with little bit of my yellow tinge, denoting this is the brightest and the glowing part of the sky. Now, I'm mixing a little bit of my opera pink into that same white and yellow mix that I have guard and meet this very soft pastel pink shade. Now, if you do not have this opened up in, do not vary. You can go ahead and use any rose pink shade, or any pink shade that you have gotten your gouache set. And you can tone it down by mixing white into it and come to a similar color value that I have used here. Now, observe that the rose pink mix that I have used out here was little tin. Can you see the paper white at the top section of this guy, which is being visible through that color LED. This is because I'm going to go with multiple larynx in the sky, especially when making clouds. That's why I'm making sure that these layers are thin so that multiple layering as possible without making the colors turning very muddy on the paper. I'll be no applying my medium tin consistency of white gouache from right towards left blending into the violet. Here. I'll be trying to blend in that valid, trying to create this smooth transition of colors, giving it a very soft pistil look to the sky. I'll be washing my brush and creating a lighter value of my yellow by mixing a little bit of white into that yellow mix here, I have this creamy yellow mix watching it on the paper here. See, this is how I'm going to go and blended here because I wanted to go ahead and build multiple layers in the sky. That's why I'm going with all little medium to ten consistency of gouache so that when I start the layering, my base coat is not reactivated to easily. Now keep observing my brush movements. I'm not going too harshly on these areas, but saw very gentle motion and using just the tip of my brush, which is loaded with medium valued consistency of my white gouache mix. I have went ahead and blended. Now that pink area is. Looking to ten, right? So we're going to go with one more layer using the colors pink mixed with a little bit of my yellow, orange and give this area a little bit more brighter look. A word of caution out here, if you do not have this color, pink, but have rose pink color and rose pink, do not go ahead and mix your yellow orange. Instead, just apply your rose pink directly, or apply a little bit of white into your rose pink and keep layering the colors because rose pink reacts with yellow, orange in a weird way and gives you a very muddy, dull color. So you want to avoid that color right now at this moment in the sky. So if you have rose pink, just go ahead and turn it down with little bit of white into it and blend it together. Now here, keep observing the blending. Do not go with too harshly on the paper and also do not use too watery paint over here. If your paper is not taken off, this will not allow you to go with multiple larynx like how I'm doing. So your paper should be at least 300 GSM and thickness to allow you to go with this multiple larynx. Now over here, it's just all about blending, allow your layers to dry in between, and then using soft, gentle strokes with the tip of your brush to blend the colors. Always when going and blending the colors, have some amount of your paint loaded at the tip of the brush or else you will be lifting of the paints instead of letting them. But also remember that in-between the larynx, you should let the base code get dried, then go ahead and layer on top of it. Pretty much satisfied with the initial appearance of this guy. Now I'll be just going ahead and quickly swatching out the colors in that piece of paper that I had kept for swatching. Now, I had forgotten here to swatch the colors, but you do not do this mistake. Go ahead and before each lettering process, when you are mixing your colors, go ahead and swatch your colors before you start out. Now here at this part of the paper, I'll just go and grab my white quash and with my just dumped it, I'm just going to go and blend this areas one more time. This area, I want to make it look very soft, soothing and yet bright. Looking like the sun is shining through this areas. I will be going ahead and preparing a mixed for my Cloud. For that mix, I'm mixing my Prussian blue with my rose pink, blending them well together so that the resultant violet that I get is a very bright violet, swing towards pink, rate, a purple shade. Now, I'll be dabbing off all that extra amount of water or dampness that I have in my brush. Nice and very clearly and with the tip of my brush and with very soft light hand, I'm just going to go and create this swirly movements with the help of my brush tip to create these clouds. When you start with the clouds, your paint mix, again, should not be too perfect. It should just have appropriate opaqueness and not too much of water in it. Because for the clouds to be going and creating multiple layers with different tonal values of my paint pigment mixes. Okay, just like this, I will be sometimes going ahead and using bold shades of purple on the top of the clouds denoting the extra moisture to it. And the lighter areas will be at the base of the cloud. So like this, I'm going to build the letters to denote realism in the clouds. Near to the horizon line. I'll be going ahead with brighter mix of my rose pink with my **** dry brush. Okay, so here I have switched to this angle shader brush. My brush was to do dry. So I'm just dabbing it clean with the help of my tissue paper or tissue towel. And just with light gentle strokes, I'm just going and creating some random shapes tip of my brush. Okay, Now for that bigger chunk of cloud, I'm just going to use my Oprah pink with little bit of rose pink and fill out those white gaps that you can see through, right? I'm just going to go blended with this dry brush tip. Now. I will be going ahead and adding Prussian blue onto top of this mix to create some depth into the clouds. Do not ready. This might look very rough at the moment, but we will be using are damp and dry, flat, round brush to blend it through. So now it's all about blending process with very soft, light, gentle handedly, always go and use just the tip of your brush and try to blend the colors, mood and evenly. Okay, So this is how I'm going to go and create some more streaks into the sky with just the tip of my brush, you can see I'm going with some Fred dry marks for the clouds. So this will give this guy a different lose, will speak loud appearance. Okay, I will let this area dry and then get started with the sky reflection in the water. So I'm starting with my lighter shade of yellow here. I'm using cadmium yellow mixed with white. Now, I will be layering it with some of that yellow, orange that I have in between. So keep observing the brush strokes here. I'm not fully blending the colors. I'm using the streak methodology or approach to give a rough streaky look to the sky. Now in-between we will be adding some brighter colors, just like how our sky is above the horizon line. We are going to mimic the same. Now, just above that demarcated line where we will be painting the grassland, right? So above that, I'll be starting to lead this yellow layer for this guy and will be blending in with the rest of the layer. 20. Day 3 Magical Pink Sunset Part 2: Now with my damp tip loaded with white gouache, I'm just going to go and very soft handedly blend the legs of that yellow. Now I'll be sharing some of that Oprah pink right at the corner left of this bottom part of the sky. And observe the brush movements out here. I'm not completely blocking the yellow. I'm leaving certain parts in-between as yellow. Now with that tip loaded with my purple or violet and with the slanted strokes I'm going and creating this cloud shape makes sure at this point your brush is not too damp here. You should be working with kind of semi dry brush. Now we will just keep adding layers of different colors. For example, here, at the top end, we will be using some of that rose pink mixed with a little bit of white. And in-between, we will be using some of that concentrated or pigment and values of your rose pink as well to give this ploughed a more depth, just like how we have painted above the horizon line something similar to that we are going to mimic out to you. We'll stop working at the sky reflection in the water for now and go ahead and paint this. He lock reflection in the water for that, I'm using my Prussian blue mixed with my rose pink mix here. Remember, the reflection should be a little bit more violet shade. So here it is, and go with long and short horizontal strokes like this. With just a little bit of pure pigment of rose pink. I'll just go and use the dry brush strokes for creating some more depth in those clouds. Nava Just this **** tip of my brush and I have loaded it with slight yellow. I'm going and filling out those whiter areas that we're seeing through the reflection. Now, it's time to go ahead and lead the reflection one more time with my little bit of rose pink over there. It's time to start with the small he locks above the horizon line. So you're, I'm going with a round brush size number four and smearing my purple first and followed by rose pink. Here I'll be working with layers of different colors. I first went with purple, then I have lead rose pink, and then I'll be sharing some of that green mixed with a little bit of brown as well. I'd be going ahead and repeating the same steps for the other he locks also, but here I'll work with little bit more peaceful shade, meaning little bit more lighter shades of purple. So here I have lead first lighter shade of purple, and then with some strokes of green, I'm just going to blend them together. Just a little bit rough blending. And I'll be going along the direction of the mountain slopes that we have sketched out. Adding in a tinge of my burnt sienna into this lettering mix of the mountain slopes. And just blend it along. Now to add in little bit more texture to the mountains, I will just go and using just the tip of my brush, I will just let along the slopes of the mountain some white. We'll be just blending it together with very soft, gentle strokes. This will give the realism that this Mountains are a little behind and distance from us, and hence it is lighter and shade than the one which is at the left corner, which is little closer to us. For that base of the mountains where we have left that whitespace, right? We will be going and mixing green with a little bit of buoyancy and not turn them into greenish color. And just go with the long horizontal strokes over there with just the tip of the brush and try to. Create a patch over there which will indicate the pasture land or the sum Greenfield's underneath the base of the mountain. And with just a little bit off my black loaded on the tip of my brush, I'll just go and create a straight horizontal line running along that base of green, which will kind of separate the reflection and the horizon line. In the meantime, my sky has dried completely, so I'm just going with my damp IP of round brush size number four and going and creating the shapes of the clouds one more time because those when looking little patchy. So I'm just going to go and add some depth using this purple color. Here at the base of the mountains where we have painted the reflection. I'll be going with shorter vertical strokes to denote the grassland beneath the mountains, okay, which is getting reflected in the water. It's time to paint the grasslands you're at the foreground for that, I'm creating a mix of green mixed with little bit of brown and black. And we'll be going with this vertical strokes like this. So if you have a fan brush, this step can be done easily and you will be able to cover larger surface at a quicker pace. Okay, but here with this angle shader brush also you could do the same or you can also do the same with your flat brush, but makes sure that you are using a brush size. Number two, that is, a smaller sized flat brush, will be repeating the same step for the other grassland, which is closer to the horizon line. So as you move closer to the horizon line, your strokes will get shorter because those grasslands will be at a distance from us. Okay? So this is how we are going to work. The sense of perspective. I'm going to quickly go repeat the same step for the reflection of this grasslands as well. From the base, just go with the same kind of strokes that you have created above. I'll be going and creating some more longer grasses here at the bigger foreground, grassland. Okay. Here you go. Make sure that you are not using too watery paint mix, nod your brushes to laden with water. It should just be ****** for you to create those individual strokes of glasses, meaning that tough turf grasses arising from the base rate. I'll be going ahead and creating a cluster of loose grasses growing in-between that leg over there. And I'm going and painting the reflection at the same time using just the angled tip of my brush. So if you have a flat brush, you can use just the broad flat tip and create the same. The clouds in the sky have dried. So I'm just going in and painting the sun, the setting sun right at the center of that right area that we had left. I am first filling the circle with this lemon yellow or cadmium yellow mixed with a little bit of white. And then on top of this, I'm going to add a little circle using my white gouache. Will repeat the exact same process for reflection part as well. But here, the reflection part, I will go and create some long and short horizontal lines because it's reflection and the water is moving. So that's why I'm going to create this bloody lines for the reflection. Once you are happy and satisfied how your reflection of the sun is looking in the water and how it is in the sky. Start with their glasses. If the base coat of that underlying black has dried so far, the layering of the grass first, we will start with a darker green shade. I have mixed my sap green with my Prussian blue and created this darker shade of green grass out here. You can go with multiple larynx of the grass if you want them to look more and more realistic, but you're just going with this three layers. First is the black, then I have used my darker shade of green. On top of this, I'll go and add some lighter shade of green, preferably sap green mixed with your lemon yellow and a little bit of white will give you that bright yellow green. This is the most satisfying part of the painting. I love creating this grasses. I don't know why I get such a satisfaction and pleasure using this long strokes. If you have a liner brush, you will get beautiful strokes if you have control with your brush. To add more depth into this grasses, use longer and shorter strokes and create some leaves or grass blades longer than shorter ones. Use just the vertical strokes and keep swinging them in left to right. You will be pretty much good to go. 21. Day 3: Final Details Part 3: Once you have completed the layering of the foreground, prairie grassland, move on to the ones which are closer to the horizon line and use the same steps of the larynx that we had done for the foreground grassland. Whenever you are going and creating these grasses through the layering process, always make sure to, not to cover the entire of that black which is there underneath. Keep, you know, keep the strokes far apart, a little distant from each other so that little bit of black is still visible through those layers of grasses that will give the sense of depth into the painting. The foreground grassland layers have dried, so now it's time to add some flowers for that, I'll be using some lilac. That is, I have mixed my purpose with little bit of white and rose pink into that mix to create it into a lilac shade. So this is how I'm going to go and use just the tip of my round brush size number four, and create these small dots, shapes broader at the base and narrowing towards the top. So this is kind of lavender field that I'm trying to create out here at the foreground. But if you want to paint any other shape of flowers you can paint daisies are cosmos that is totally up to you. You are free to paint any flowers of your choice. Now near to that base of the mountains with just little dots, I'm going to fill that area with this little dots so that it looks like even there're some wild flowers growing in here too. I will go with lettering first day added with that lilac shade that I had for the darts. And now on top of that, I'm going ahead and adding little bit more of a pasty lilac. That is, I have added a little bit more of white into that existing lilac mix. And I'm adding these dots over here. And I think I'm pretty much done. Now here at the foreground, I'm going to go and adding this lighter shade of light, iliac as well. Adding in a few more flowers here at the foreground. But this step is totally optional if you are satisfied with the flowers in ER, grassland or, or just leave it out there, no need of filling it again. But make sure that you are not overdoing or over filling it with flowers so that not a single blade of grass is seen. So in that case, it will look really weird and the entire beauty of this painting will be gone. So make sure that you are not overdoing this process. If you wish. You may also add in some floated in the other grassy areas as well, but it is totally up to your wish. If you like, you may add the smaller dots like how I'm adding in here or else you can just leave it to be just grasses. Are you going pain some longer grasses as well such as those cans grasses. So you can just go and add those kinds of grasses also in the other grasslands as totally up to you. Going and creating last finishing touches for the reflection part. Using this longer than shorter strokes in between, finishing off the reflection. Paper has dried out completely. Now it's time to take off the masking tapes from all the four sides. I'm quite happy with how this painting is looking, especially color combinations, the sky and the clouds. You'll give it a try and do not miss the other important sections of gouache consistency because that is very crucial out here, we have painted this using thin gouache consistency as the base layer. And I have showed you how using multiple layering techniques, you can create this beautiful, stunning piece. I will see you again with it for tomorrow. 23. Day 4: Autumn Sunflower Meadow I: Welcome to day four. And as always, I have taped down my paper on all four sides using my masking tape. Let's get started with our basic pencil sketching. Around three-fourths of the paper. I'll be going ahead and creating a horizon line with the help of my ruler. Now, if you want, you can go with free hand straight line also for your horizon line. Here, I'm marking out the areas where my midground vegetation would be. So I'm just going ahead and creating the same. I would suggest you that go ahead, check out this entire video and come back to the place where I have finished the sketching part so that, you know, or you can expect what likely changes will be there in the final sketch. And you can go ahead and create your own sketch. In this project, we are going to paint sunflowers in our middle, right? So I'm going ahead and using this circular pencil marks, I'm going ahead and blocking out the areas where our bigger sunflowers will be. If you have masking fluid with you, you can use your masking fluid to mask out this areas so that you can later on come back and paint on this areas after you have peeled off your masking tape, orange, you can go ahead and do negative style painting, like the way I'll be showing you out here. I'm going ahead and squeezing out all the colors that I'll be needing for this project. The color palette has already been discussed with you in the previous section. So I hope you guys have taken a note of all the colors that I'm using. I have already reactivated my paints using my spray bottle. Now it's time to paint a sky for that. I'll be using some of that white gouache, mix it with my turquoise blue color to get it to a very light blue shades, basically the sky blue color that you would call Here. Take a note at the consistency of my gouache. I'm going ahead with slightly thin wash because here we are going to do multiple larynx and we are going to paint some clouds. You guys have already gone through D3 you would buy. Now know that the process of letting requires you to go with first thinner consistency of gouache to help you build layers or else there will be too much of pain sitting on the surface of the paper. And after a point, you will not be able to blend the colors anymore on the paper if the paper surface gets too saturated with the paint. So I would request you all to, please. Now, do go ahead check out the previous lessons of my gouache techniques where I have explained in great detail about the wash consistency, mixing, layering and blending techniques, practices out with your own hands to get the feel of this medium. Only then you will not be having any more issues with the consistency of gouache you are using and the blending that you are doing great. So those exercises will really help you to understand this medium. Hence, I would really ask you guys to do not skip those sections because those are your vital basics for gouache. Here you would have observed that I'm just going ahead and blending my white, just pure white into the paper and transitioning into the areas where my blue has started, right, so that I get a lovely gradation from my light blue to the fetus, most blue that is almost towards the yellow, which we are eventually going to start from bottom. I have cleaned my brush. Now. I'll be starting from the bottom using my yellows. Here. I'm using my yellow deep and a little bit of cadmium yellow. If you do not have cadmium yellow, you can also use a bit of your lemon yellow and mix these two colors along with white to turn into the shade that I'm using are tiered and with very light soft handedly start blending using to and fro motion from left to right. Now, I'll be going ahead and mixing some of that white gouache into my yellow damp my brush and turn it into a light yellow mixture. So this is the transition that I'm doing out here. And I will gradually start moving upwards into that white layer that we had created earlier. Remember, this is how I'm going to go ahead and create this blend or transition between our yellows to lighter yellow, then to our lighter blue, then blue, right? So this is how I'm going to go ahead and blend. This is the most easiest way to blend rather than to get the blue and the yellow layers too close to each other, where you might risk of creating a greenish mix because blue and yellow gives a greenish kind of mixed rate. So in order for you to avoid that greenish mix color, this is the best way of how you can create a transition. By using a layer of white and then going ahead and you're not transitioning from your base colors to the lighter shades, and then so on. So this is the most easiest way that I thought I could explain it to you guys. That as a big note, you do not go ahead and create the greenish mix, which is very easily created when you mix blue and yellow. Now here we again blending the area because there I have that blue layer, so I need to create a transition rate so I'm blending it. Now here I feel that my paper is becoming little saturated with paint and my brush is not able to flow easily. So I may go ahead and dip the tip of my brush and little water so that this blending process becomes little easier. So here I will wash or runs it very nicely and thoroughly. I'll make the squash little watery so that I'm easily moving or gliding along the paper. Read blending those areas, make sure that you are spacing out or giving each subsequent layer some time to dry out in-between. Because too much of friction will again cause your paper to start wearing off. So it'll be a little cautious and be careful. Now, I'll be rubbing off some of that extra paint that I had. So I'm going ahead with some orange streaks for our sky may lead to depict the clouds. Make sure that you do this step only when your layers have dried out or else you will run a chance of reactivating your base layers and creating a muddy mix which we want to avoid for making our sky look bright pretty with this clouds. For the clouds here, I'm going ahead and using my purple if you want, you could go ahead and use something clouds as well. I will be going ahead with very soft, gentle, decisive strokes and don't try to press your brush against the paper too hard. Here, the layer is still wet, so I'll wait for it to dry. In the meantime, I will start with the background of creating a middle for the background color of the middle, I'm going to go ahead and use a mixture of my burnt umber mixed with black. It would be so dark that it would almost look similar to that of black. And as you can see, I'm going around those circle shapes, filling in the empty spaces around those shapes. Okay? This is known as negative painting and watercolors. We mostly use it, right? So this is how I'm going to go and fill this entire middle with this base coat and then wait for this layer to dry to start the next process. Now, I will be starting back with the sky and let our base coat for the middle to get dried completely. Okay, now, when I'm going back for the clouds, make sure that your brush is not too loaded with water. Always dab your brush on your tissue, paper, tissue, towel and soak up all the extra amount of water that you would have here. My brushes dam, but dry like this. I'm soaking up all the extra water that I would have and with the existing paint mix now, your paint mix should not be having too much of water in it. It should be just in that perfect consistency to allow you to get this precise strokes. Always remember that whenever you are going for this read layering process makes sure that you do not brush your brush against the paper or the layers too hard because that would reactivate the underlying paint, right? So using just the tip of your brush, go and brush very softly and start layering the colors on the paper in directions of the Cloud that you would want your observed. What kind of clouds that I'm creating. I'm sometimes going with swirls of the clouds to give that cloud deformation or streaks as well. Now, this you could do with your round brush. Here I feel more comfortable with my angle shader brush. Hence, I'm using this brush, but this very steep can also be done with the help of a flat brush. Also, if you notice my brush movements, he would observe that I'm using just the tip, dabbing it on the paper and releasing it as such, I'm not putting any extra force or pressure to get the colors blended here. We're not going for that blended look here. We just want it to look like some clouds in the sky. So just go very gently and just try to let some colors on your paper with the help of some slanted or streaky horizontal strokes like as I'm doing here. For the clouds in the sky, I have used the colors Prussian blue, purple, some violet and some opera pink mixed with little bit of orange. And I have placed them in analagous Chrome order. 24. Day 4: Autumn Sunflower Meadow- Part 2: It's time to get started with the midground. For the midground, I'm going to go ahead and use the same color mix that we had used for painting. The base code for our middle, that is black mixed with a little bit of brown and sap green. So you would ultimately get this very dark shade. Just go ahead and lead this gently creating the horizon line. If you're comfortable creating this horizon line with their flat brush tip, go ahead and do so. If you're comfortable with a round brush tip, you are feel free to use whatever brush you are comfortable with. I'm just going to go color block this area on top of this, we will start the learning process now using my size number eight round brush. And just with the tip of this brush, I'm just going to dab the brush tip along, creating this small foliage like patterns to indicate the bushy growth for this midground shrubs that we are doing out here. Whenever you go ahead and create this kind of shrubs or any vegetation, always remember to play with the highlights because in nature, not everything is symmetrical rate all the bushes and shrubs have their own distinct size and shapes. We are going to play around with different sizes to give the sense of depth and realism into the painting. Realism, we will be shortly achieving it through the help of layering process where we are going to use different tonal variations of green and start the layering process of this foliage or shrubs. Here I'm preparing the mix for our very first layer of our foliage. That is, I've mixed a little bit of viridian along with my black and turned it into this darker green shade. Now, you can also mix Prussian blue into yard, this viridian green, sap green and turn it into this very dark green mix so that it stands out from that black and gouache. Always remember your light colors dry, darker and darker colors, dry, lighter. Interesting right? Now with the same dabbing motion from the tip of my brush, I'm going to create this foliage pattern. This would not be visible right now, but once the layer starts drying, you start layering it with lighter colors. This background is going to get more and more beautiful and the depth will be brought out very beautifully. So we will be creating this with the help of this smaller, shorter strokes do not go with very bigger dabs of the brush. Keep it very medium-sized or smaller size to give the sense of realism into it. Now it's time to lead with our lighter pigments. So for the lighter pigments, I will be using my pigment sap green, mix it with little bit of lemon yellow to turn it into a lighter shade. But always remember, whenever you are going ahead and letting it with your lighter shade, wait for the initial base layers to dry out or else you will reactivate the base layers and turn the color into darker because it is going to mix, right? So your lighter colors will eventually start looking darker. So there would be no point. Wait for the layers to get right and use water judicially in your paint mix. Here, just keep observing my brush movements and the way I'm trying to create this shrubby patterns in the background rate with different layers of green. So just keep observing. The greens that I have mixed here is viridian sap green and a little bit of white to turn it into a lighter shade like this. And whenever you are going and letting it start layering with your lighter shades, just add the fringes are at the corners and let the base of your shrubs bead of darker shades. So that would give the sense of depth and realism. Now I have switched to my size number two brush. This is a liner brush, but you could also go ahead and use your round brush size number 01 or two, totally up to you, whatever you feel comfortable with. And the one which has a very good sharp pointed tip. You can use that to go ahead and create this foliage with the lighter colors. So just remember that you're underneath layers, needs to get right before you go ahead and use different colors of different tonal variations. So once I'm pretty satisfied with how the background shrub is looking right now, I would stop there and then move over to creating our sunflowers in the medieval time to move on with us and flowers for the sunflowers, I'll be using a mix of my lemon yellow with that of yellow deep. So if you do not have yellow deep, you can make it a little bit just a slight tinge of orange or scarlet red into your yellow and turn it into a yellow orange-ish mix. Okay. So I'll just go with the round first and then just with the tip of the brush, I'm going to go and create this strokes of the sunflower petals unit to go ahead and create these petals in a very sharp, precise way, because you do not want that background black color to get reactivated on the tip of your brush, right? So for that, just go ahead. Use the tip of your brush to lay down the paint paint and lift it off slowly. Now, I will be starting to go ahead and create the illusion of sunflowers just below the horizon line where we had left that white blank space, right? So I'm going to go ahead and create some circular shapes like this, leaving the center of this shape to be white. There we are going to go ahead and fill brown shade later on once this layer has dried. So I'm going to go ahead and completely fill this area, especially the white portion that we have left out using this round circular shapes like this and covered this entire portion. Now it's time to fill the center of our sunflowers with this burnt sienna shade that I have. So if you have any brown mix, you can go ahead and use the same. I'm going to go ahead and use my burnt sienna mixed with a little bit of burnt umber instead of burnt umber. You can also go ahead and use a little bit of black, mix it with the burnt sienna and do the same using just the tip of my size and before brush, I'm just going to fill the center of those sunflowers. Once you have filled the centers of the sunflowers, if you see around those sunflowers that we have created, if there are any blank whitespaces which you can observe, you can just go ahead and fill them with the same dark paint mix that we have painted the middle with the base code, right? So adding some greens into your black do not make it so dark. Give the green it's colored, but make it a little dark and just go and fill the areas where white gaps are present. So that would indicate that there is the leaves are the branches of the sun Florida stem. Okay, So that is how you will create the illusion of the sense of realism into your painting. Once we're done with the part near to the horizon line, now it's time to move on to our foreground where we are painting the biggest and flowers. I'm going ahead and filling the center of the sunflower with the brown mix that we had created. Burnt sienna mixed with little bit of burnt umber, make the center of the sun Florida little darker and the other periphery areas little lighter brown, just like how we have done right here, I have switched to a size number two brush, but feel free to switch to any brush that you are comfortable with, as long as you create the petals of the sunflowers, nice and crisp without disturbing the background layer. You are good to go. Now here in this part of the process, it is all about creating these petals of the biggest and flowers that we have already marked, right? So I'm just going to go ahead and create these petals. So use different variations of petals rate just the way I am creating out here. So keep observing my brushstrokes and brush movements. Take a note of the color observation. Here. I'll be first starting with darker colors. That is my deeper yellow. The yellow deep that I'm using are tiered and then I'm going to let it with a lighter yellow color once the layer has dried up. So first, I'm going to go and paint all the petals are the sunflowers using this darker shade of yellow. And then go ahead and fill the rest with the lighter shades. So this will allow you some time in between the layering process. So keep watching this step and observe how I'm creating different types of sunflowers which are tilted, some are tilted towards the Sun and some petals have drooped inside, right? So use different variations. Google out some sunflower reference pictures or sunflower middles. And then take those references as you inspiration and you can create your own sunflower me do so far now, I'm going to go take my time and create these petals. I'll be repeating the same process of creating this petals until I have filled the entire meadow with the sunflowers. Okay, I'll meet you again in the next part of the lesson. 25. Day 4: Final Details- Part 3: After you fill the middle with the petals, now it's time to bridge the gaps that you can see. That is the black portion of the media that you can see. We are going to fill it with our green. So I'm mixing my sap green with a little bit of viridian green to create the foliage of the sunflowers stock and the leaves as well. So just go ahead and create the shape of leaves and stocks wherever you have placed the sunflowers and in and around wherever you find this blank, empty spaces of the background color, you can go and fill it up with this leaves. So I'm going to repeat the same process until I have filled the entire area with the smaller and bigger leaves. Here, I'm trying to give you a closer look of how I'm getting this done. So have a look. Keep observing my brush movements and brush patterns. This is quite repetitive steps, so I have forwarded this part, but if you wish to see it in its original speed, then I would request you guys to adjust the speed through your browser settings of Skillshare and get it to 0.5 x so that you can see it in real-time version. So this is how I'm going to add details, tours and fluid-filled. And the more details you add into it, the more realistic the field will start appearing. The medial is already looking so colorful and bright rights, especially with those of sunflowers. We are almost towards the end of a painting. I'm just going and doing the last finishing touches by creating some more stocks and petals, using lighter tones of my green to create some highlighted leaves over their urine there. Okay, So this is how I'm going to fill it up and I'll stop out here. Right now. The sky that we have goddess very soft and soothing rate. I'll show you another example where I had painted with the same color combination, but this guy over there was much brighter. So if you want your sky to be much brighter, use your turquoise blue in its full concentration. When you just start layering the first coat with your blue and then transition it didn't to light the sheets. It same to peel off our masking tape from all the four sites. Do this only when the layers have dried out completely, okay? Or else you might run a chance of ripping out your paper. Peeling off the last step. Let's see if we get it perfectly. Yes, it is absolutely perfect. We have got all four sides into crisp, clean edges. Okay. I'm really loving the look of it. I will be meeting you soon with our day five, where we are going to paint a beautiful pastel sky with some mountain ranges and reflection and water. See you soon again. 26. Day 5: Color Palette : Here is the list of colors that we would be requiring for our DeFi projects. 27. Day 5: Pastel Sunset Part 1: Hey guys, welcome to D6. You can already see that I have taped down my paper on all four sides using masking tape, including the swatch card. So if you are using people like this, you could do the same or use the reverse side of your sketchbook page. Swatch your colors. Now, I'm going to start with basic preliminary sketch here with the help of my pencil and ruler, I'm going ahead and creating this horizon line. You can see almost three-fourths of the people I have left and then created this horizon line. Now, just above the horizon line, I have went ahead and created this high land, which will be at the base of the mountains where there would be some vegetation or pine trees growth over there. Okay. There might be lots of changes that I make while creating this basic pencil sketching. So I would recommend you first go through the entire video once and then come back and pause the screen where my pencil outline is ready to make your pencil sketch. Now we'll be creating the reflection part of the mountains in the water. So I'm just going to go and create this peak of the mountain. And that's all for the pencil sketch. Now we will be starting out with this guy. For this guy, I already have some cadmium yellow deep and cadmium yellow in my palette. I'll be squeezing out some of my Oprah pink into the palette to create a mix of that coral, orange, pink that I love using for most of my pistols guys that I create. So I'm just going ahead and squeezing out the colors. The color palette has already been discussed in the previous section prior to the project. So go ahead and check out the list of colors that I have used and you can squeeze out all the colors in your color palette. But here always remember that if your palate does not have designated wells, I would recommend you to squeeze out the colors first that you are going to use your e.g. I'm first going to go ahead and mix my colors to create the coral pink. You can see I do not have any other colors squeezed out in my palette. By this way, you would also ensure that the colors in your palette or fresh without forming any other intermediate, muddy mixes which you generally want to avoid. Here I'm showing you how you can mix your own coral pink mix by mixing your cadmium yellow, a little bit of orange, and a little bit of opera with white. Mixing it in the ratio of one is to one, and creating your desired coral pink. Now, observe the consistency of the paint mix that I'm going with. My paint mixes, not too watery. It does not do think that it is sticking onto the bristles of my brush. It is just smooth and perfect. So here I'll be working with perfect gouache consistency using my **** brush so that it spreads beautifully on my people without forcing it. Here observed the brushstrokes that I'm going with. We are going to go ahead and paint this slanted streaky sky today with this piece till colors. That's where I'm going with the slanted strokes, blending the colors together. Now observe you're just dipping my tip of my brush in water and loading my brush with a little bit of white paint. I'm going ahead and toning down the gouache into this thin consistency. As you can see here, I'm playing around with the different consistencies of gouache. First I laid my paper with the perfect gouache consistency, and then I started using this thinner values of my gouache mix to create this perfect blend so that the pink and the oranges blend harmoniously together. Another reason why I went with different quash consistencies is that I'm going to leverage this with some blue clouds in-between. That is the reason I did not want the areas where I'll be layering it with blue to be too much with the paint like I have already discussed in the gouache consistency layering and blending exercises. When you layer your paper or saturate your paper with too much of paint and start layering on the. Top of that layer, you have high chances where you can reactivate the underlying layers quickly and turn it into a muddy mix. So that's why I have played with different consistencies of gouache. Now, I'll stop here for the main part of the sky. I'm going to repeat the same process for our reflection using the same colors that we have painted the top part of the sky. Okay, for the reflection to go ahead with the same color, but try to go with some thinner consistency of gouache here so that it is easier for you to blend. And also because this part of the reflection, your areas are much smaller and constricted than you had when you had painted the sky. Those area is bigger. So that's why in order to have keen and smoother transition of colors go with little thinner consistency of gouache so that even when you do or go ahead with the layering, you still have nice, fresh, clean colors over here. Now, I'll be squeezing out my aqua blue out here. Your app for blue maybe named with a different name. It could be sky blue or acid blue. So just go ahead and select blue, which is very light and paste still kind of color, or turn your blue into pistol by using your white. So this is the color that I'm going to go ahead and use for creating the streaks are the cloud streaks for the sky. Just go ahead and create this kind of slanted strokes. And in-between the transition between blue and orange leave that white Apache area because there we will be using white and blending the two colors together. Okay? So this is how I'm going to go ahead and create the same for the reflection as well. Should be very careful when you are layering your blues. Makes sure that your initial base layer has dried out completely. If it has not dried out, go ahead with a very damp and dry brush and start layering your blue so that you do not react with the base layer and turn it into a very muddy, unwanted mix. Okay, so go with very soft light handedly. And to have some fresh, clean colors, do not blend the blues too much into the oranges. Use more of whites in that areas and blender to transitioning layers. I'm going to repeat the same process here for the reflection as well. I'm working the two areas of the sky simultaneously so that there is no mismatch with the color combinations that I have. Remember I had this left corner. I told that I have gone with thinner consistency because I'll be going with layering there with some other color. So I'm going ahead with the thin consistency of my cadmium yellow mix. Now, observe that I started this layering process only when my initial layer of that coral pink had completely dried out. Okay. And then using just the damp and thin consistency of that yellow mix, I slowly blended into the background. We will let the area of the sky dry out completely. And now we are going to start with our mountains. For the mountains, I'm going to prepare grayish blue mix. Okay, so here is the process of how I'm making my grayish blue mix. I'll be squeezing out a little bit of Prussian blue. And I also have squeezed out some of the turquoise blue, mix it with white. And now if you have little bit of your violet or purple in there, makes all these three colors together with little bit of white and create a blue gray mix. You can see the more you add your Prussian blue into this gray mix, it will be some resulting into something like that darker shade of that slate degree. So this is how I'm going to go ahead and outline my mountains. So keep observing. For outlining the mountains here I'm using the angled end of my angled brush. But if you have a flat brush, you can use the flat tip of your brush to do the same or switch to find the pointed round brush and create this outline of the mountain. Now, I'll be switching back to my angle dagger brush. Instead of this brush, you could also use your flat brush number size two or three and do the same process. This step to create the texture rete, ridges of the mountains. Okay, since our paper is not too textured as how our cold pressed watercolor papers are. Here. We'll have to put in some extra effort with our brushstrokes to denote the textures on the mountains. And that is the reason I'm going ahead and using my angle shader brush with some dry brush movements. I'm creating this kind of zigzag crisscross lines on the mountains to create the textures, as well as leaving some white gaps in between to denote the snow cap or the deposition of snow this Mountains. So I'll be repeating the same steps are the same process until I am satisfied with the look of these mountains. Then I will be meeting you at the next part where we are going to start with the reflection. 28. Day 5: Pastel Dreams Part 2: Going to paint the reflection. Now, I'm going to repeat the exact same steps what we had repeated to create the snow-capped peak out there above the water. So further reflection in the water. I'm going to repeat the same step using a mixture of my dry brush stroke. Now you would have noticed or observed that before he started with the reflection part, I have tilted the board so that it's easier for me to create the reflection in the exact same way that we have created one mountain peak above the water, right? So I'll be filling it back because I'm done with creating the textures on the mountains for the reflection. Now, using my **** brush, I'm going to go and mix purple shade with little bit of my grayish or that light aqua blue shade on it into a purple gray mix and start with some streaky clouds. Makes sure that the mix you make is not too watery. Or if your paint mix has turned out too watery, what you can do is load your brush with that, Use your tissue paper to squeeze out or DAB all the extra water that is there. And with very light soft hand, use the streaky motions with your brush and create the clouds. Now, mixing little bit of my white into that purple grayish mix. I'm going to go ahead and create a little bit more lighter or pasting this purple mix so that it is brighter. And I'll just go and start layering in between those gaps that we had left. Now using my Oprah pink and with just a damp, dry tip of my brush, I'm just going to load the color like this and start layering and blending it out smoothly into those layers, okay? But makes sure that you are doing it very soft handedly and not applying too much of pressure there should not be too, like your brush tip should not be too ****, or else you will reactivate the base code easily. Now I have changed my angle shader brush into this filbert brush, dab the all extra water from the brush on this tissue paper. And using just the tip of my brush, I'm going with this random strokes. Again, rub off all the extra paint that is there on the brush and just smoothly blend out though layers like that and just let that ADR get dried out completely. In the meantime, I'll be starting to work blending the colors for the reflection part. I have used a little bit of white on the tip of my brush. And just using the dam tip, I'm going and blending the area smoothly. Following the same steps, I'm going to create some more fluffy and wispy clouds here at the left corner near to this mountain range, okay, using some dry brush. Once you're done with this guy, now it's time to squeeze out our greens into hard palate because we will be soon starting to work with the forest growth near to the base of the mountains. So for that, I have used sap green and squeezed out some of that leaf green. So instead of leaf green, you can also go for lemon yellow and mix it with sap green to create a color similar to that of leaf green. Now for the background darker colors, I will be using viridian and Prussian blue. Now instead of Prussian blue, you could also go ahead and mix your black into your greens to create this darker, blackish green for your background. So I'm going to use this mix and start letting my colors. Before that, I'm swatching it out. So this is the darkest mix of green. And now using just the pointed tip of my brush, I'm going to go and create the shorter and longer vertical strokes, creating this illusion of background pines growing. Now once you have done with this first Background layer of pine, now we will be mixing our sap green and create a second layer of pines, where this will be with some lighter color. So I'm going to go and prepare this mixing a little thin consistency and start with some longer vertical strokes. I'll mix little bit of. Lemon yellow to, in this mix, just disliked with the tip of my brush. And use this color to go ahead and start just beneath the areas where the darker mix I had lead. Now here I'll be using this mixture of sap green mixed with a little bit of black and with creating vertical strokes over there, I'm going to create another layer of pines just right after the darker background of the Pines. Okay, so here we are trying to create a depth or an illusion of depth using different tonal variations of green. Now we will lead that background layer get dried, and now we will start layering with the lighter color that we were already doing. So I'll just use this vertical strokes and lead this area completely until I wrap it around with this lighter shade. Once you are done with that, now, either use your flat brush or if you have an angle shader brush like this. So go with some slanted strokes like I'm doing out here and blend the greens like this way. Over here, it's very important that you go with the slanted strokes to create the sense of depth and realism into this forest that we are creating our tier. Because if you go to, go with some horizontal flat strokes out here, this would make the painting look very flat and not add any dimension to it. Hence, this long slanted strokes now just underneath that lighter green area, with the help of this tip of my angle dagger brush, I'm going to go and create this darker outline which will demarcate this land above the water and also create the demarcation of the reflection as well. Now we're going to start for the reflection part, and I'm going to start with the lightest shade because that is closer to water. So hence that part will get reflected first in water. Hence, I'm just going with the layering, this lighter shade of green. Pause this, I'm going to start again with the area above the horizon line of the water, right? So here I'm going with a darker shade of green and just around 1 cm above that line, I went ahead and laid it with that green. Similarly, I'm going to do and repeat the same step here at the reflection part as well. So keep watching this step to follow along. Now I'm mixing my darker shade of green to start with, creating the background pine forest. So we waited for the background base coat to dry, and hence we started layering again with the second coat of our darker green. And here I'm just going to go ahead and create shorter and longer vertical strokes to create the illusion of different heights of the pine tree. Here, observe the consistency of the course that I'm using and the dampness of my brush. I'm working with very damp and dry brush with just the perfect gouache consistency. And similarly, I'll be walking the same and creating the background pines over here as well. Now to create those thinner lines of this pine trees, you could either use a brush which has a very nice long pointed tip or switch to a round brush size number one or two to help you get this tenor lines of the pints. I'm going to use this long vertical strokes and fill this entire area. Since this step is a repetitive one, I have fast forwarded this area, but if you want to slower down, you could do so by adjusting the speed in your Skillshare browser to 0.5 x and you could watch it. It's this original speed. So keep repeating the step until you have covered the entire area with this layer of pines. Once you are done, we will take it forward to the next step where I will be meeting you in the next part. 29. Day 5: Pastel Sunset Part 3: Now with the help of this lighter color mix that is mixing my lemon yellow with sap green. I'm going ahead and filling in this lighter colors in-between the two darker color transitions that we have in-between, right? So to make this layer more prominent, I'm going ahead and filling this lighter tone of this greenish yellow mix that is mixing my lemon yellow with my sap green. Just go ahead with this long vertical strokes to fill it. And now right here at the right corner I'm going and creating this bind like shapes. Whenever you are creating this pine trees always remember to switch to our brush, which has sharp pointy tip. And the pine shape was always to note at the top and broader at the base. So I'm going and creating the shapes accordingly. Now for this background, I'm going to go and use this darker mix off my green, which is almost towards black, and fill it with this bind shapes. So here I'll start from the top and use this dabbing strokes with the help of my brush tip and create this pine shapes. So go ahead with shorter and taller strokes of Pines, okay, to create this variation of height in the trees, I'm going to go fill up this entire area with the spine shapes. Now remember to have the variation in height. Use some taller and longer strokes go with the same of flow that you have initially created the pines. And just to create a more realism Intuit, just go with some detailed fine strokes in the background. Now using this **** tip of my angle shader brush, what I'm going to do is there can you see those lines that are visible? I'm just going to blend it out using the dam tip. Remember that your tip should be just damp. It should not be loaded with too much of water because if you have too much of water in your brush at this point, you are going to lift off the colors rather than blending it. Yours, you would see, I'll be constantly going to and fro to this background areas that I'm going and creating the layering process. Now, I started again with some darker tones for this right side background that we are going and creating this pine forest, right? So the base coat of the initial pines that we have created with lighter colors have dried, and hence I started again creating the same strokes. But here I'm using the darker mix of green to create the sense of depth and illusion. Now we'll be going ahead and creating the reflection. For the reflection, I'll be going with some darker colors and go with vertical strokes to give the height of the pine trees getting reflected in the water. Later on above this layer, once the layer has dried, I'm going to go use my damp dry brush and create some horizontal lines on top of this. So that would give the sense of the reflection in the water. Once this layer is done, I'll be using the same **** dry brush and take some darker colors and lightly fill out this darker colors in-between the lighter colors like this, okay? This would create the sense of depth, just like how we have on the ground above the water, right? So I'm going and replicating the same but makes sure that yard paint mix is not too watery. Use perfect consistency of gouache and use your **** dry brush. Your brush should not be too damp. It should just have the dampness to just pick the colors and let it on the paper. Okay, So this is how I have built the darkness or the layers, right? And on top of this, again, I'm going ahead with this long horizontal, some shorter and longer strokes. Using the lighter color. Now, I have rinsed my brush now using just a little bit of white and just a tiny bit of that yellowish green mix. I'm going to go and dab off all the extra paint that I have on the tip of my brush on the tissue paper. And go ahead and create this very short and long strokes with the help of this color mix, make sure that your paint is not too watery. It shouldn't be just perfect to go and create this sled. We will let that reflection part get dried up. In the meantime, I have started layering my background color onto this foreground land area where some wild florals, shrubs growing. So here I'm just going ahead and using this dark mix of my green and black and create this grass like shapes over here. Now once this led rise, we will come back to it and start painting more leaves and flowers as well. In the meantime, using my white gouache and I'm dry brush, I'm going to go and create some dotted lines over there in the reflection part. Now it's time to start with our foreground. Since the base layer has dried already, I'm going ahead and using my sap green mix, I'm going and creating this grass shapes with just flicking motion of your brush. Go and create this grass like shapes over there. If you want, you can make these grasses even more longer. So when you are towards the bottom of the paper, go ahead with some shorter strokes. And when you are almost, you know, going with the reflection part, there, go with some longer grasses, something like this. So if you want, you can go ahead and paint some stems and leaves. You can also add some floral bushes out here, just like how I'm painting. The more you use combination of darker to lighter colors, the more realistic this middle or this patch of this grassland will look like. Okay. So go ahead and create this long flicking strokes with your brush to create some grass like shapes. Or if you want to paint some patterns and fully ages, you can also go ahead and do so. Now with just dabbing motion of my brush, I'm going and layering this pink opera pink I'm here using. So with that Oprah pink, I'm just going and layering in-between those grasses, this lavender like shapes. Some dots which are broader at the base and narrowing down at the top. So something like this. I'm going and creating on top of this, I'm going to go and leverage with white once this layer has dried out. Non layering it with white. Now here I have chosen Oprah pink as my color, but instead of oprah pink, you can also go ahead and use rose pink. Or if you want to add some lavender of purple color, you can go ahead and do so. When you are layering on top of your base color with white dots, makes sure that you are not covering up the entire of the base colors. Okay. Go ahead and leave some gaps in-between for that base color to be visible through the white that you are layering. And this is how it is going to look. Once you have completed your foreground area, it's time to go ahead and create some more depth into that midground pine forest near the base of the mountains. I had left that area to dry out completely. Now I'm just going in and filling in with shapes of pints. Just like how we have done initially. Once you are done unsatisfied with creating these spines here at the midground. For this, we will move on to the next part of creating snow onto the top peak of the mountain. Okay. So I have used here thicker consistency of white gouache, like the freshly squeezed out gouache straight out to the tube. And just go ahead with just the tip of your brush and start the layering process like this. Okay? So go ahead and create the same way for the reflection as well. This is the last final touch that we are doing out here. Who's this? We will be done. Let your paper dry out completely and then we will be filling out the masking tapes from all four sides. Like I always say, whenever you are filling out your tapes from your final painting, always be patient and fill it out at an angle. Healing out the last and the final site. Yes, that's perfect. I have got perfectly clean, crisp edges and I'm really loving the end result of our beautiful painting. Do try it out. And if you have any doubts, feel free to post it in the discussion section. I'll meet you again tomorrow with this project. 31. Day 6: Dreamy Evening Part 1: Welcome to day six projects. And like always, I have taped down my paper on all four sides and we are ready to get started with the pencil sketch. The pencil sketch for this project is pretty simple. I'm just going to use my skills and my pencil and draw a straight horizon line leaving two-thirds of my paper for us sky. And that's it. So let's get started with our painting first and foremost, I'm going to reactivate my gouache paints, which is already present on my palette. I'm going to make this consistency into a thin consistency because you would already know that I like to go with multiple larynx when going with the sky with different colors so that the sky is bright and beautiful. The color that I'm using for creating this bottom layer of this guy is a little bit of yellow deep. Now, in case if you do not have this color, yellow deep orange, you could always go ahead and use your cadmium yellow and mix a little bit of scarlet red into it to create colors similar to this. Now, once you are done with layering with your yellow, now create another layer of white and then start blending it. As I'm doing it out here. As you keep approaching from the bottom to that white section, you would see that you are slowly blending the colors and make sure that at this point your brushes just dumb for you to go ahead and create this too. When for brushstrokes, if your brush starts feeling dry, go ahead and rinse your brush and little bit of water, dab it on tissue, paper, tissue travel, and start blending the colors again. I am done blending this lower part. And as the color is dry ink and you see the colors have dried out darker. So this is a thumb rule of gouache. Your light colors always tend to dry a little darker and darker colors tend to dry a little lighter. So this is kind of interesting, but it gives out very nice, beautiful contrast and vibrancy to your final painting. Now, let's start mixing our colors for a middle. So here I'm trying to go ahead and prepare a very dark green color, which is almost close to black. So for this, you can go ahead and use your viridian and mixed little bit black into it to turn it into this kind of went icky green color that you would call for your watercolors, right? So you can create this kind of dark black mix or use your just black and then create another layer of green and try to blend them together. So that is another way that you can create this beautiful transition of darker to lighter greens. Now as I'm getting closer to the horizon, can you observe that I have started using lighter greens for the contrast? Here, I have used my sap green and I'm slowly blending it with to and fro brush motion with my darker green layer that we had already created to create smooth and seamless transition of these colors. Right now, I'm going to stop over there and let this layer dry. In the meantime, I have started preparing my sky colors, which will be Prussian blue and my aqua blue. So instead of aqua blue, if you have any follow, which is similar to that of cerulean blue, you could use them time to get started with the top part of the sky. And you can see I've started letting it. But here I had already forgotten to create shape of the moon. So using yard, any circular object, you can go ahead and create the shape of the moon here I have used the inner radius of my washi tape. You can do this step at the beginning of your pencil sketch itself. And if you want, you can mask out the area of this moon because the moon area needs to be preserved in white. Here. I'm going to go ahead and fill the rest of the areas around the moon. This is known as negative painting. So I'm going to adopt negative painting approach too. Fill the sky with this darker shades of blue and then try to create a transition from yellow to the blue. So keep watching. Now I'll be very carefully filling the colors around the moon. So I'm just using the tip of my brush and going around the moon in this half semi shapes. And when I am closing in towards the yellow transition layers, there, I'm going to go rinse my brush nice and clean with water and then get the transition by blending it with white. And as I keep approaching the blues. I am making sure that I clean my brush properly with water and go back and create the same transitioning mix with my white as well as with the yellow. So every time that you go and touch your blue, do not drag it down into your yellow. Every time that you do this step, rinse your brush with water so that you do not end up in muddy color formation. So from here on it's all about the blending process. Just keep observing my brush movements and the colors that I'm going ahead where I'm trying to go and mix white into my color mix. And the way I'm trying to go ahead and blend the colors together, these are all very important and crucial. So more than me talking, if you observe my brushstrokes more keenly, you would have a better idea on to how to proceed with it. Here. Try to observe one thing. The more I'm trying to go and live my paper with this perfect gouache consistency. Can you get the feel of that continuous pasty kind of layer which is getting formed at this top section. This is because I have used perfect gouache consistency. This is not wrong, but as I have already discussed, the problem associated with this kind of perfect gouache consistency in multiple layering, which I have discussed in great detail in the previous lessons of Gouache technique, especially the blending exercise. So if you have practiced it, you would know that with perfect gouache consistency when you go with multiple larynx, you have to watch of pain sitting on the surface of the paper every time that you try to build layers on top of another with this perfect gouache consistency, you end up saturating the paper with so much of pain. There would be a point that your brush will have resistance and will not allow you to blend the colors smoothly. So this is one of the demerit of using perfect gouache consistency for multiple larynx that you would want to go for. But there is also a way, in this case, use just the dam tip of your brush when you see that your paper is loaded with too much of paint on the surface, use just the tip of your brush and try to blend the colors very soft handedly in that way, you will be achieving the soft blended look very easily here using my soft **** tip of my brush and with some white gouache, I'm trying to create this glowing area around the moon, right? So this part of the Moon will be glowing than the rest of the other parts. So either you can do it in this way or made the top layers of your blues to be much more darker so that this lighter area gets highlighted more vividly. Transitioning between blue and yellow is always very tricky. Hence, to get this transition right, always try to go with soft, lighter strokes and try to use more of your whites in your paint to turn them into a very pistol kind of look so that the blues do not react too sharp and vividly to create that intermediate green mix that you want to avoid in the sky. Now with a little bit of my white coercion **** tip, I'm going and creating this glowing hallow around the moon. Now here, can you observe that the paper is starting to wear out because of multiple larynx and multiple to and fro movements with the brush. So I will not disturb this area anymore. And I will start working with my median. For the middle, just near to the horizon line, I will be going with much more lighter shade here. I'm using my leaf green. But in case if you do not have this leaf green, you could mix your lemon yellow into your sap green, Antonio green into a very light greenish yellow, which I'm going and layering it near to the horizon line. Now here I have started letting a new layer and our initials, layers for the middle has completely gotten dry. But the moment I use my damp brush and pick little bit of my color and start blending them together. You see how beautifully and easily the legs start to really blend with each other and gives a transitioning layers, right? This is the beauty of working with gouache. Now I will be starting working with them middle, but I will start right at the bottom of the media because that layer has dried out completely. Now with this long flicking strokes of my brush, you can see I'm creating this grass. Shapes, right? So these are going to be our grass blades at this stage, when you have already created some of the grass tips, you would observe that your brush tip is frayed. This frayed brush tip will help you to create more number of grasses at one stroke. Here in this case, I would always recommend you to go for a fan brush if you have one, because in that way, you wouldn't be able to create number of grasses together at once. But if you have something like this round brush, you can use predictive technique and create more number of grasses and just one single stroke. Now here, just at the center or in-between that lighter and the darker areas. I'm going and using a little bit of my burnt sienna into my greens and blending them well together. Now I will lead this part of the medial dry out completely. In the meantime, I will go and clear out any bubbling that had formed when we were painting the sky because of the to and fro brush movement. So this guy has dried completely and with the help of my tissue paper, I dusted away all the extra bubbling that I had got over there. We'll start back with my needle because the area has dried out. I'm going ahead and creating more thinner strokes for the grasses. As we'll be approaching the horizon line, my glasses will become much more thinner and thinner. You're always observe that the background for this middle is darker. Hence, to bring up the contrast I'm using the lighter colors. That's the rule. Always try to add highlights to your painting by adding your light and your darker tones. Now, I'm going to repeat the same step of filling the middle with this grass shapes. Okay? So use a brush where you can have this sharp long pointed tip, which will facilitate you to create more thinner blades of the grasses, right? As you approach the horizon line, your grasses will be much thinner and much shorter. Okay, So this is how I'm going to fill the middle, use wedding strokes and in different direction to create your grass blades that would give more sense of realism into your painting. Now using my brown and black mix, I'll be going and creating some rock shapes using just the tip of my angle shader brush, something like this. Okay. So I'm put you did rocks out. Also shapes. I'll be going ahead and switching back to my detailing brush, filling out those base of the rocks with some grass shapes, some short grass shapes with the help of the tip of my detailing brush. This would give more sense of depth and realism into the painting. Hence, the step as you go and approach the horizon line, your grass blades will tend to become shorter and shorter. Pause this, I'll be meeting you at the next section where we will be starting with adding details to our sky and middle. 32. Day 6: Dreamy Evening Part II: Now I have loaded just little corner of my brush tip, but a little bit of white gouache. And I'm starting to lead at the corner protruded edges of those rock-like structures with the whites, like something like this and just leave it like that. Now, you can go ahead and start layering your grasses one more time. But this time with even more lighter shade that you had created the first layer of grass. Here I have mixed little bit of white into my pre-existing mix of yellow plus sap green. Hence stoning the color into even more lighter shade to add realism or depth into the middle. So this is the color that I'll be using to layer it for the grass. Oops, The her stroke when to take over there, don't worry, you can try to cover it with grass blade, those longer grass blade over there and fix those areas up. Okay. So remember to create some blades like this urine, they're in-between the middle to add more sense of depth and realism, like I have been always telling. Now it's time to start back with the sky because the sky has completely dried out. I'm starting with little bit of opera pink. But if you do not have overlapping, you can use any lighter shade of pink available with you. Or maybe if you want to add little bit more drama, you could also add little bit of orange into your pinks and create a more vibrant color. Or add little bit of purple or violet into your sky that is totally up to you how you want to make your sky look more dramatic and which color combinations that you want to go for. Google or some dramatic sky pictures. And you would have an idea of the different color combinations that you can use, especially for evening skies. So Google it out and you may use the color combinations from those references are mix-and-match and create your own sky. Now I'm going to start outlining the moon. For the moon, I'm going to go ahead and create a mix of bluish gray by using my black little bit of my aqua blue and white, turn it into a grayish mix. And now, with the help of your fine detailing brush, go ahead and create the outline for this circle shape of the moon. You will have to be very careful to do this step because you do not want any coffee or crooked lines when outlining the shape of the moon rate, it needs to be very sharp, precise, and very steady strokes. So for that, you could use your little finger for the support to create the outline. For creating the craters in the moon, use the same grayish dark mix and just randomly go ahead and fill certain areas along the round edges of the moon and leave certain white spots in between, okay, something like this. So keep observing the way that I'm creating the craters in the moon. Now for the other remaining part of the moon, I'll be filling that area out with little bit of my white gouache. So for this step, I'm using my round brush size number four and using just the tip of my brush, I'm just trying to go ahead and fade out the colors, especially the white lines and lighten out, smoothen out the edges that we have created. Feeding out little craters over here with the help of just the dam to blending it into the waves just like that. Now to add little bit of dreamy and imaginative effect into this landscape, I decided to go ahead and add a cherry blossom tree. For that. I'm mixing or dark brown mix by using my burnt sienna and black, combining them into one is to one ratio. I'm going ahead and using just the tip of my round brush size number four, I'm going ahead and creating the shape of this tree. Make sure that you do not go ahead and create a very strange shape of a tree because that would not give any kind of dramatic or musical effect into it. So try to go with the shape that I'm going to create this thinner branches of the tree. I am comfortable using my size number four brush because it has a very nice pointed tip. But if you feel that you need to switch to a detailing or liner brush, please feel free to do so and create this thin lines for the stems of the tree. I think that's all that I'm going to add branches to this tree now it's time to fill it with some cherry blossoms. So I'm using my Oprah pink and with this sharp dabbing strokes with the tip of my brush, I'm going and filling the stems of the tree with this strokes going ahead randomly and with varying shapes and sizes. Oops. Okay, So before I start filling with more blossoms, I would like to go ahead and splatter some stars in the sky, so forth that I have switch to my size number two, brush and diluted the Guassian bit, but it is not too watery. It's just with some perfect consistency and tapping it with another brush to create this smaller splatters of stars. Now here always remember if your brush is loaded with too much of watery paint mix for the stars, you would get bigger blotches. So if you want to have sky full of smaller dots of stars, you could use the technique that I've used here. Go with this perfect gouache consistency and tap your brush with another brush or even your fingers and try to create this stars and in-between you can add with just the tip of your brush some more bigger stars. Create some things like this or add shooting stars that's totally up to you. I'm going to add some of this, right? Twinkling stars. You're at this guy. And maybe add one or two shooting stars. Once I've finished adding starch sure sky and I'm satisfied with their data will be going ahead and filling the tree with more of this cherry blossoms. Now, if you want to add different colors to your blossoms, you could do so. I have here, I've gone ahead and used a bit of pink. But if you want to go ahead and use purple, you could do so. But always try to go ahead with first darker tone and then lead the top of this blossoms with the lighter tone here I'll be using a mix of white mixed with a little bit of opera pink. Now I will try to add little bit of details onto the branch or the stem of the tree by using the dry brush technique, just grabbed it off your brush along the sides of the lines. Okay, something like this. And that's all we are done with the painting. It was simple and easy rate. I chose this because this project had the blend of all the techniques that we have learned from day one to day five so far, so that it is easier for you now to go ahead and try some complicated blends with the sky, e.g. how to go ahead and blend the areas around the moon. I hope you have enjoyed the project. I will see you again tomorrow with this D7, which is our last and final project. 34. Day 7: Silver Lining Part 1: Welcome to day seven, the last and the final day of our seven days gouache challenge. And like always, I have taped down my paper on all four sides using this washi tape or masking tape. Now it's time to get started with our basic pencil sketching. Your sky is our main focal subject tends to create the horizon line. I'm going to leave two-thirds of my paper for the sky and create the horizon line. The rest of the part. This is going to be the demarcation between the sky and the foreground. I'm going to create another lines and inclined lines to create the ground or the slopes of the ground. If you would have followed along my previous lessons, you would always know that. I always recommend you to first go through the video because there might be fewer changes in my pencil sketching. So I request you guys to first go through the entire video, then come back to the place where I have completed the sketching. So that in this way, you are aware of what is coming next and accordingly, prepare yourself or prepare your basic outline. I think that's all for the basic pencil sketching. It's time to now get started with our colors. First, we will be starting out with a sky. The sky over in this project is going to be little complicated. But I'm sure that with the rigorous practices of blending that you have been doing so far from day one to D6, this would be comparatively easier. And now I'm here to guide you with all step-by-step process. So first, I am spraying and reactivating my gouache on my palette. Now these are freshly squeezed squash. I would always recommend you to go ahead and create your color mixes with freshly squeezed squash because that would give you better results. When the gouache dries on your paper. I'm going to squeeze out my suddenly in blue shade on my palette. Now yard blue can be named in different ways because the brand that you might be using maybe different. So it can be acid blue cell in blue or any other shades of blue. But make sure that whenever you are using the blue swatch out and if you want to use the color similar to mine swatch or the color, compare it with the shade that I'm using, and then go ahead and select your blue. First. I'm going to start ahead from the bottom of the line that we have created for this guy right here, I have gone ahead and used my yellow deep color. So this is a color which is having a little bit of orange shade into my yellow. So you can mix a little tiny amount of orange into your yellow and turn it into the shape that I'm using. Now using my white little bit of white with my damp brush. I just went and blended into that yellow. Right. So I have lighten the color down. Can you see? And remember that I'm using try to observe the consistency, of course that I'm going ahead and using, I am going ahead with perfect consistency of gouache, which is neither too thick, not too thin. And now I'm going to create this long slanted strokes with the help of my filbert brush. So this rays are going to represent the rays that are emerging out from the sun which is hidden behind the clouds. So just go on, Create thing this slanted strokes for the rays of the sun. Now, observe that I am making them converge into a point where all the razor emerging outright. So that would be the point where the sun is hidden behind the clouds to not worry, this intersection will be totally hidden once we start painting the clouds against this layer. But right now, your main objective should be to blend the colors well for this slanted rays and leave this certain white gaps in between. Because later on we're going to go ahead and create more blending process with little bit of white to create the rays of the sun more prominently. Okay, So right now, go ahead and create this slanted strokes. Remember that here, your brush should not be loaded with two water. Work with yard, perfect consistency of gouache and with just the dam tip of your brush to create this wreath. Now I'm going to cover those horizontal strokes with the same slanted strokes, but I'm not going to completely fill them up. I'm going to go and leave them halfway, something like this that I'm doing out here. So here later on we can use white gouache and with the dam tip of our brush, we can start from the center of that intersecting point and fan it out towards the top portion of the paper to create the whites Andres, the rays of the sun, which will be managing out from the clouds, right? So this way, the blending process is going to get much easier. At this point, you would have observed and notice that my brush tip is running dry and hence, I'm kind of getting this dry brush marks on the paper. Do not worry. Do not go ahead and read it out. You're the tip of your brush because this areas we're going to go over and blended with the layer of thin consistency of white gouache. So when we start doing that, this areas will all be getting blended and you will have lesser time also to dry them up. Can you see the way I'm trying to go ahead and create the white race, something like this. Either you can use the brush that I'm using, that is the angle shader brush, or use the tip of your flat brush to go ahead and create the strokes at one go. Observe my brush movements. I'm going to repeat the same step of blending the whites into the blue that we had lead. Now, here we go little carefully. Do not try to bring the blue tube down at the center of the paper because that's the area where humans retain the pure white color. Okay, So this is the way that I'm going to blend. To not worry if the Blending right now seems to be a little rough, ER, little patchy over here right now. We can later come back to it and blend these areas with the help of a little damp tip of our brush. So right now, you just have to concentrate on just blending the areas roughly. Later on we can come and try to have a smooth blended sky. Now to even out the areas of this white and blue strokes, I'm going to go over with my **** tip loaded with this blue color and we'll go over the blue strokes all over again so that the demarcation between the white and the blue strokes or even doubt, or it is smoothened out, okay, something like this. Now in order to achieve smoother blends between this blue and white race, I may be going ahead with multiple times switching between my whites and blues until I'm happy with the blends that I have got. So unless you are happy with this, you may continue doing this, but yes, Do not overpower or do not overdo this area because you might end up spoiling it. So when you are happy with it, leave it and let it dry. In the meantime, you can prepare a mix of your blue gray by mixing black with little bit of white and blue and turn it into this grayish mix. Observe the consistency of the gray mix that I have got. The mixture is just perfect. My palette is not seen through this mix. Hence, I'm ready to go with the clouds. I started by applying the clouds and sharp dabbing strokes. Just read the intersection between the yellow and the blue is. Now I have left in between the blank space between there, I'm going to cover it with little bit of white gouache and start blending in-between the two layers of gray. I'm using my size four round brush. This is a synthetic brush. Hence, I'm just using the tip to blend the areas of gray and the white together. Blending in the topmost part of this gray cloud along with that white. And I will just leave it at that to dry out. Then we are going to come back to it later on. In the meantime, I'm going to go and create some more loose fluffy clouds here at the bottom part using the gray mix. Time to start with the main part of the sky, which is the clouds here I'm using little bit of yellow mixed with white because this is the part where the sun is hidden behind the clouds. So this area will have little bit of yellowish or that golden tinge. Hence that yellow mixed with a little bit of white. Now around those areas, I'm going to go and create some darker clouds as well to highlight though lighter clouds. Okay, So this is how I'm going to go and fill these areas with lighter and darker clouds. So keep observing my brushstrokes and brush movements. So here I'm just trying to create the Lakers sandwich. Remember, when you have two breads, you spread out some butter or jam in-between those breads. Similarly here, I'm trying to sandwich between two layers of darker colors with the lighter colors. So something like this. 35. Day 7 : Silver Lining Part 2: Here are the left corner of the sky. I'm going to go and continue the same process with the gray mix and create the shapes of the clouds. I'm going to let this area get right. In the meantime, I'm going to start walking at the center piece of the flowers with my white quash. I'm going and blending the colors over there, creating this Cumulus clouds. From here on, I'll be switching between sides and switching between colors to create these shapes of the clouds, I have started with the left corner, creating some more bigger shapes of the clouds here. And I'll be blending them with the initial layers of the clouds that we have created here, the blending process is going to be rough. I'm not going to completely blend them together. I want to have some rough, patchy blending so that the highlights are the clouds of darker and lighter colors can be brought out easily. Here are the left corner. I'm going to go with a lighter mix of my gray and just go ahead and create the shapes of the clouds with the help of the brush tip. Something like this. Now I will let this area get dried out and on top of it, I'm going to go again with a darker mix of my gray and create the highlighting shapes of the clouds. Once you have done this, now it's time to rinse your brush and switch to a brush which has a very nice sharp pointed tip. And load the brush tip with little bit of white quash and start highlighting the shape of the cloud using just the dabbing strokes with the tip of the brush, something like this that I'm doing out here. Carefully observe the outlining that I'm doing out here. My outline is very, very thin and it is just with the dabbing strokes going around the shape of the clouds that I have already created with the darker clouds. Now this process, she requests a little bit of patience because every time that you create, you might need to have another brush handy with you. **** the tip of that brush and try to re blend the areas where you feel that you need it to be smooth, okay, see here something like this that I'm doing out here. Then repeating the same process of creating the silver lining using the tip of my size four brush. Make sure that you go with this very thin dotted lines are the continuation of this shape of the clouds. I will let those cloud areas get right. In the meantime, I'll fix the rays of the sun by going over them with my damp brush. Once the area has dried out, I will come back again to it and create the same silver lining strokes with the help of my brush tip. Now whatever that area of the darker cloud, I'm going to go ahead and create some wispy clouds using my damp dry brush here. I'm going to go with the dry brushing technique. Can you see my brush tip is so damper and dry that it has created that beautiful texture to the clouds over there. Just very rubbing the tip of your dry brush would ensure that you have this kind of loose, wispy clouds on two-year sky. Now I'm going ahead and re blending the areas just with the dam tip of my brush here, my brush is not loaded with any colors. It is just ****, I'm just kinda reflexing those areas, repeating the same process, but this time with this darker mix of gray. Now I'm going to create a darker outline of the clouds, something which similarly we had done to create the silver lining for the darker clouds with white gouache. I'm going to do the reverse of it with the darker color of my gray mix. I'm going and creating the outline first. And then with my white gouache, I'm going to read blend the green little gray areas with the white ones. Rinse my brush in water. Now with this **** tip of the brush, I'm going to You know, lightened down or tone down the white with the existing background gray mix so it will become lighter and tone down like this. Now, towards the left, I'm going to go ahead and create with my white quash the silver lining for our darker outline shape of clouds. We're going to learn a little of this lighter gray mix here at the right-hand corner of the Cloud and blended into the background. So once I complete this lettering process and blending the areas out, I will lead this area get dried completely before I start working on it again. Now, I'm just going ahead and with the damp tip of my brush, I'm blending this radius over here, daring with gouache. Always remember that you need to let your base layers get dried completely before you go ahead and layer on top of that with another code. That is why every time that we are going and blending or retouching the cloud areas, we are letting each layer dry out completely. Then we are coming back to it and redoing the process. Once we're satisfied with the clouds, it's time to start creating a mid dose for the middle, I'm going to prepare a mix of my darker green. So I'm going to mix my burnt sienna with a little bit of sap, green and black to turn it into a very dark greenish black mix. Once you have created the color mix, should not forget to swatch it out. I have forgotten here to swatch out the color. And as I started the layering process, so in-between, I'm going ahead and using the tip of the brush, color blocking it, basically urine, they're at random places with my brush tip loaded with sap green mixed with little bit of burnt sienna, I'm blending the colors with the darker tones. For the areas closer to that of the horizon line, I'm going to go ahead and fill those areas with lighter shades of green here I am using my sap green. You could prepare your own sap green by mixing tinge of your lemon yellow with your existing green and turn them into the sap green mix. As you move closer towards the foreground area where you had led the darker colors. Now, try to blend the two layers together. Every time that you start blending the areas do not go ahead and dip your brush in water. Rather, use your paint mix and try to blend them together so the paint mix out yours should be a little bit of thinner consistency so that you are not saturating the surfaces for your paper with too much of wash paint. As I move further closer to the horizon line at the right hand corner, my green has turned out to be much more lighter here. I'm using the shade, leave green from Shanahan Art. But if you have any similar looking neon green shade, you could use that to create our mix it with tinge of sap green and start layering or spreading the colors. Now, observe the brush movements or the angle at which I'm spreading the colors out. I am going along the shape of the initial outline that we had created because that would give the sense of realism and depth into the painting. We'll let this area dry out completely then proceed on to the next part of our project. 36. Day 7: Silver Lining Part 3: To get started with them midground element, where we are going to paint some pine forest or some illusion of forest out yours. So for the background, I'm going ahead with the color mix of black. You could make a little tinge of brown into this black mix as when. And you can also go ahead and create this shrubby areas or the background with DR. round brush. And it's not necessary that you have to use a flat brush or angle dagger brush since I am more comfortable using this brush and I'm using this. But if you feel you are more comfortable with a round brush, size number six or four, go ahead and do so. Once this background layer has dried completely, I'm going to start the learning process with different tonal values of green. First I'm going with a mix of little darker green, mostly like when the ikea green shade here, I have used this existing color mix of black mixed with brown and add it in a little bit of sap green to create this color mix, you can see it is almost closer to black, but it has little bit of greenish undertone to it. With just the dabbing strokes of my brush, I'm going and creating this foliage like pattern. Over you're at the right corner with the sharp pointy tip of my brush, I'm going to go ahead and add some illusion of pines are creating some smaller and taller finds. Here instead of pints, you can go ahead and add in any shapes of the trees that you want to have in your landscape that is totally up to you. Just make sure that you go ahead and do the shape of these trees are fewer choice at varying heights. This process is somewhat similar to that of project number five for the day five projects that we had created. There also, we had created this midground element where we had painted forest shrubby area. At the base of this midground, I'm going to go ahead and leverage with the darker values, such as black over here. Here, at this point it is looking like they're just too sharp, distinct colors, right? That is the black and the greens that is starting at the foreground. So I'm going to go ahead and let it again with little bit of green underneath the black and try to have this long slanted strokes along the slopes of the foreground that we have created to get the look of smooth blended transition. Now towards the bottom of the paper and using my mid values of green, that is sap green mixed with a little bit of brown. I'm going and creating this long vertical strokes to create the grass blades. Now, this is going to be the first layer of the grass blades. And I'm here using my angle dagger brush. But here you could also use fan brush. Using a fan brush to create the grass blades. It's very effective because you can get multiple strokes of your grass blades at one single goal. If you do not have a fan brush, not worry. You can also go ahead and use your **** dry round brush where you can free the tips of your round brush and create this longer strokes of grasses. There you will get four to five strokes at simultaneously at the same time. So using my this angle dagger brush, I'm going to go and fill out the entire time he do with this longer and shorter strokes of grass blades. The grass blades will grow shorter and shorter as I keep approaching the horizon, like near to the horizon. So near to the horizon I will just be going and creating this dabbing strokes with the tip of my brush loaded with the paint to indicate the growth of the smaller grasses here in the middle, which are closer to the horizon distance from our perspective. So in that case, you can go ahead and create this smallest molar stubs of grass using your tip of your round brush. Something like how I'm doing out here. Now. You could also go ahead and create some darker strokes of grasses using your black and brown mix and around at the center. You could also go ahead and create a tuft of grasses using the same color mix. Now I'll be going ahead and letting the middle with another name of grass. But this time I'm going to go ahead and create the grasses with the lighter tone of sap green. So the more lighter and darker color combinations you add to your medial or landscape, the more realistic it will start appearing. I'm going to continue the process until I fill the entire middle with this grass shapes for generating or creating thinner blades of grass. Human switch to a thinner brush, that is size number one or two round brush or even your liner brushes would complement greatly when you are creating this thin drought split strokes. Now around this area where we had earlier created the tough turf grass, I'm going to redo this area and layer it with my darker mix of black and brown. I'm going to let this darker color as the background to create a small shrub over here. Now over the top of that darker mix I'm going and creating foliage like patterns with my sap green color, keeping the base of the shrub with the darker color because that is the atria or the part of the shrub which does not receive ample amount of light, and hence the shadow is cast it. To denote the shadow we are using the darker color mix. Now to add highlights. Shrub, I'm going to go and use my lighter shades. So here you can use your lemon yellow and mix it with the sap green to turn it into a lighter shade or mixed little bit of white also in your sap green and turn it into a lighter shade of green. And start layering it with dabbing strokes of your brush at the peripheral edges using the same lighter color mix. I'm going to go and add some more grasses here at the bottom base of the paper and create some more of that smaller grasses closer to that of the slopes of the middle. I have here fast forwarded the process because this is going to be the same repetitive step. In case if you want to watch this at the original speed, then you could adjust the speed settings from your Skillshare browser and going it down into 0.5 weeks. Now it's time to add flowers into the middle. So for the florals, I'm going to use my mixture of opera pink and little bit of white to add some highlights to this floating. I'm going with just the tip of my brush, loading the color and putting it down on the paper with certain dabs of the brush. So you can go ahead with any color choice. But remember, it should be little bit vibrant that it, it comes out vividly from the dark contrasting background that we have. Now it's time to let the lighter pink over the darker pink. So for that, I'm mixing my white along with Oprah pink, turning it into a very light baby pink shade. And starting to layer it on top of the areas where we had initially lead with our Oprah pink, not covering the entirety of the dark pink. So just go ahead and keep just like in-between areas. Another easy way of covering this middle with the florals is to go with the splattering technique. So just like how you would splatter star into your sky, you could use similar kind of technique for splattering flowers in your floral fields. Once you are done with the middle, now it's time to go ahead and create the shape of binds with some lighter colors. So we are starting to go ahead and create more reality and dipped into our middle ground. Here I have mixed my mixture of viridian sap green together to create this layer of pines. I have fast forwarded this section over here because it is the same repetitive step that we are seeing, just like how you had created the initial dark background. Similar thing. We're repeating just that. We are layering it with a lighter color and with just the dabbing stroke from the tip of my brush, I'm going and filling out these areas. That's all I have completed the painting and it already looks so beautiful. It's time now to remove the masking tape from all the four sides. I hope you have enjoyed creating this class project. As I have enjoyed, I cannot wait to see you upload your projects in the projects and galleries section. And in case if you have loved this class, please do consider leaving a review for me because your reviews make me motivated and inspired to create new things that you might want to learn in future. So I will see you again in the next class. Until then, stay safe and buh-bye.